THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


MEREDITH  WILLSON  LIBRARY 
STANLEY  RING  COLLECTION 


MUSIC 
LIBRARY 


MANUAL 


PHYSICAL  AND  VOCAL  TRAINING, 


FOE    THE    USE    OF    SCHOOLS 


AND  FOR  PRIVATE  INSTRUCTION- 


LEWIS  B.   MONKOE, 

SUl-ERINTBA'DENT   OF    PHYSICAL   AND    VOCAL   CULTURE   IN   THE   PUBLIC   SCHOOLS 
OF   BOSTON,   MASS. 


ILLUSTRATED  BY  HAMMATT  BILLINGS. 


PHILADELPHIA: 
COWPERTHWAIT    &    CO. 


Entered  according  to  Act  of  Congress,  iu  the  year  18G8.  by 

i,Kwis    B. 'MONROE, 

in  the  Olork's  f  dke  of  the  District  Court  of  the  District  of  Massachusetts 


CAXTON  PRESS  OF 
SHERMAN  &  CO.,  PHILADELPHIA 


Music 
Library 


PREFACE. 


THIS  manual  is  prepared  in  response  to  repeated  requests  for 
some  written  embodiment  of  the  method  of  Vocal  and  Physical 
Culture  practised  by  the  writer  during  the  last  ten  years,  and 
taught  in  the  Boston  public  schools,  under  his  supervision,  for 
three  years  past.  It  is  with  no  little  hesitation  that  he  at- 
tempts the  difficult  task  of  conveying  by  printed  words  that 
which  requires  the  living  voice  for  its  proper  exemplification. 
It  is  impossible  to  prescribe  an  inflexible  course  of  instruction,  — 
one  which  will  not  require  the  ingenuity  of  the  teacher  to 
adapt  it  to  individual  cases.  Nevertheless,  even  an  imperfect 
outline  —  and  this  assumes  to  be  nothing  more  —  will  serve  as 
a  guide  to  those  who  wish  to  adopt,  to  any  extent,  this  mode 
of  training. 

For  the  faults  and  imperfections  in  these  pages  the  writer  is 
alone  responsible ;  and  he  would  not  claim  an  undue  share  of 
credit  for  anything  of  worth  which  the  work  may  contain.  He 
has  availed  himself  of  the  labors  of  the  numerous  investigators 
who  have  preceded  him  in  these  fields.  In  common  with  al- 
most every  one  who  has  dealt  with  the  speaking  voice  during 
the  present-  generation,  he.  is  especially  indebted  to  the  great 


1482925 


iv  PREFACE. 

work  of  Dr.  Rush  .on  the  Human  Voice,  and  to  the  excellent 
adaptations  of  his  methods  by  Professor  William  Russell.  He 
would  also  gratefully  acknowledge  his  personal  obligation  to 
Professor  Alexander  Melville  Bell  of  London,  foremost  among 
English  elocutionists  of  the  present  day;  and  to  the  gifted 
vocal  artist  Dr.  C.  A.  Guilmette,  and  Mr.  W.  J.  Parkerson  of 
Boston.  This  list  might  be  indefinitely  extended.  The  writer 
would  here,  in  a  word,  offer  his  sincere  thanks  to  all  who,  by 
instruction,  advice,  criticism,  or  patronage,  have  aided  him  in 
his  work. 

BOSTON,  March  1,  18€9. 


TO  TEACHERS  AND  STUDENTS. 

IT  will  not  be  best  to  dwell  too  long  on  the  exercises  of 
any  one  chapter  before  proceeding  to  the  next.  It  is  well  to 
take  up  almost  simultaneously  the  matters  of  Position,  Carriage 
of  the  Chest,  Breathing,  Production  of  Tone,  Articulation,  and, 
to  a  certain  extent,  Expression. 


CONTENTS. 


CHAPTER    I.  PAGB 

PHYSICAL  CULTURE  IN  SCHOOLS         ..»...' 

CHAPTER    II. 
HINTS  AND  CAUTIONS 8 

CHAPTER    III. 
POSITION  AND  CARRIAGE  OF  THE  BODY     .    '    .        .        .        .10 

CHAPTER    IV. 
CARRIAGE  AND  DEVELOPMENT  OF  THE  CHEST  .        .        .        .19 

CHAPTER    V. 
BREATHING  AND  DEVELOPMENT  OF  THE  LUNGS        .        .        .24 

CHAPTER    VI. 
CONTROL  OF  THE  ORGANS  OF  THE  THROAT      .        .        .        .28 

CHAPTER    VII. 
PRODUCTION  OF  TONE          ........    32 

CHAPTER    VIII. 
VOWEL  ANALYSIS         .........    38 

CHAPTER    IX. 
ARTICULATION 43 


vill  CONTENTS. 

CHAPTER    X. 
SLIDES  OR  INFLECTIONS 


CHAPTEE    XI. 
QUALITY  OF  VOICE  .  56 

CHAPTER    XII. 
FOECE 59 

CHAPTER    XIII. 
PITCH,  OR  MODULATION 61 

CHAPTER    XIV 
RATE,  OR  MOVEMENT ...    64 

CHAPTER    XV. 
STRESS 67 

CHAPTER    XVI. 
TRANSITION 74 

CHAPTER    XVII. 
IMITATIVE  MODULATION 79 

CHAPTER    XVIII. 
PICTURING 83 

CHAPTER    XIX. 
SELECTIONS  FOR  PRACTICE  IN  READING 87 

CHAPTER    XX. 
TABLES  FOR  DAILY  DRILL  AND  REVIEW    ...  ,94 


PHYSICAL  AND  VOCAL  TRAINING. 


CHAPTER    I. 

PHYSICAL    CULTURE   IN   SCHOOLS. 

THE  beneficial  influence  of  physical  exercises  in  schools  is 
now  generally  acknowledged.  Indeed,  every  well-managed 
educational  establishment,  of  whatever  grade,  is  expected  to 
bestow  due  attention  upon  this  department.  The  teacher 
who  neglects  all  considerations  of  health  in  the  training  of 
his  pupils,  while  forcing  them  to  the  utmost  mental  acquire- 
ments, is  justly  considered  an  enemy  rather  than  a  friend  of 
thosa  committed  to  his  charge.  His  excuse  is,  the  false 
standard  of  public  sentiment  hitherto  prevalent,  to  which 
he  defers ;  and  which  has  offered  its  rewards  for  mental 
and  perhaps  moral  forwardness  at  whatever  bodily  sacrifice. 
The  "  saints  by  spiritual  law "  have  been  allowed,  nay, 
almost  expected,  to  be  "  sinners  against  physical  law." 

It  is  only  an  exaggeration  of  the  same  principle  which 
induces  the  Hindoo  mother  to  immolate  her  offspring  in  the 
waters  of  the  Ganges.  She  throws  away  the  body  of  the 
child  for  some  fancied  higher  good  to  come  in  consequence. 
She  has  not  learned  that  the  Creator's  laws  are  so  perfectly 
balanced,  that  the  highest  good  of  the  soul  is  connected 
with  the  highest  good  of  the  body.  And  there  are  many, 
even  among  us,  who  seem  not  to  admit  that  mind  and  body 
are  mutually  dependent ;  that  we  cannot  secure  the  best 

'•  A 


2  PHYSICAL    AND    VOCAL    TRAINING. 

development  of  the  one  at  the  expense  of  the  other.  It  is 
lamentable  to  see  the  evils  that  have  insidiously  crept  upon 
us  as  a  result  of  this  error,  —  evils  which  we  will  not  here 
particularize,  but  which  are  only  too  obvious. 

The  ancient  Greeks  paid  the  same  attention  to  physical 
as  to  mental  training.  Their  gymnasia  were  schools  for  the 
body  and  mind  ;  and  the  office  of  Gymnasiarch  was  one  of 
honor  and  repute.  The  monuments  in  art,  science,  and  lan- 
guage which  have  come  down  to  us  more  than  confirm  the 
wisdom  of  their  educational  methods.  Is  it  not  a  strange 
inconsistency  on  our  part,  that,  while  we  pay  such  tributes 
to  their  excellence,  we  ignore  the  means  by  which  that 
excellence  was  attained  ]  We  praise  and  copy  their  statu- 
ary, but  seem  to  forget  that  the  models  for  these  classical 
figures  were  furnished  by  their  system  of  physical  training. 
We  go  back  to  them  to-day  for  our  great  exemplars  in 
oratory.  But  which  of  our  institutions  will  cany  us  through 
the  drill  which  made  these  men  such  consummate  masters 
cf  then"  art  ? 

The  reaction  has  fairly  begun  ;  and  it  is  to  be  hoped  that 
out  of  the  reawakened  interest  in  physical  culture  will 
grow  a  system  of  exercises  which  shall  serve  as  a  substitute 
for,  if  it  does  not  make  good,  the  training  of  the  Olympian 
days.  It  is  true  that  in  our  time  the  requirements  for 
physical  strength  and  endurance  are  not  the  same  as  of  old. 
But  a  sound  mind  in  a  sound  body  must  be  as  important 
now  as  it  ever  was  ;  while  the  danger  of  neglecting  to  keep 
up  the  proper  balance,  with  our  labor-saving  machines,  our 
changed  modes  of  locomotion,  of  warfare,  and  of  every- 
thing requiring  manual  dexterity  and  bodily  strength,  is 
greater  than  ever. 

It  devolves  upon  teachers  more  than  upon  others  to  see 
that  the  impetus  recently  given  to  this  subject  be  not 
lost.  They  should  seek  to  render  the  interest  already  felt 


PHYSICAL   CULTURE   IN   SCHOOLS.  3 

stronger,  more  general,  and  more  intelligent.  Let  them 
make  the  most  of  their  opportunities  for  information  upon 
the  subject.  And  although  the  amount  of  instruction 
afforded  in  our  institutions  of  learning  and  in  literature 
be  at  present  most  insufficient,  it  will  not  long  remain  so. 
An  increased  demand  will  bring  an  increased  supply. 
Meantime  something  should  be  done,  and  that  something 
should  lead  to  practical  results. 

What  practical  results  can  we  reasonably  look  for?  What 
are  the  ends  to  be  attained  by  a  system  of  school  exercises  1 
Nothing,  of  course,  comparable  with  the  benefits  to  be 
derived  from  a  thorough  course  in  a  well-furnished  gym- 
nastic establishment,  such  as  is  to  be  found  in  Germany  or 
France.*  But  enough  can  be  accomplished  to  fully  repay 
the  time  and  effort  bestowed.  And  that  this  end  may  be 
secured,  the  teacher  should  have  a  definite  aim  in  prescrib- 
ing each  movement.  It  is  not  sufficient  that  the  pupil  is 
taking  physical  exercise.  He  must  absolutely  be  gaining 
something.  The  teacher  should  learn  to  distinguish  be- 
tween essential  and  unessential  exercises.  The  thorough 
and  persevering  practice  of  a  few  wisely  directed  move- 
ments is  more  beneficial  than  a  random  and  irregular  prac- 
tice of  a  large  number  of  vague  exercises.  We  repeat,  let 
every  exercise  chosen  have  a  definite  aim  and  practical 
value. 

We  here  suggest  the  main  points  to  be  kept  in  view  in 

*  The  writer  is  best  acquainted  with  the  Gymnase  Trial,  Avenue  de 
Montaigne,  Paris.  He  can  testify  from  personal  knowledge  of  the  bene- 
ficial effects  derived  from  the  system  of  physical  training  there  pursued. 
To  a  stranger  who  witnesses  the  drill  of  a  class  for  the  first  time,  it  seems 
absolutely  incredible  that  a  majority  of  the  sturdy  gymnasts  performing 
those  feats  of  agility  and  strength  were  at  the  time  of  their  entrance  weak 
and  debilitated.  The  transformation,  in  a  few -months,  of  invalids  ;?;co 
strong  men,  seems  fully  to  justify  the  -claims  made  by  M.  Triat,  when  he 
places  in  large  letters  upon  the  front  of  his  establishment, '  Regenerate* 
de  FHomme. 


4  PHYSICAL   AND   VOCAL   TRAINING. 

prescribing  practice.  If  a  given  exercise  does  not  tend  to 
promote  one  or  more  of  these  ends,  it  may  be  set  down  as 
comparatively  useless.  We  wish  to  promote  :  — 

1.  Symmetry  of  form  ; 

2.  Proper  position  and  carriage  of  the  body ; 

3.  Right  habits  of  breathing ; 

4.  Good  voice ; 

5.  Health. 

We  might  have  included  Strength,  Endurance,  and  Agil- 
ity ;  but  these  cannot  be  made  prominent  in  a  school 
course.  They  require  an  amount  of  room,  apparatus,  and 
time  which  cannot  be  afforded. 

I.  SYMMETRY  OF  FORM.  —  Teacher  and  pupil  should 
have  in  the  mind  a  true  ideal  of  a  perfect  human  form ; 
and  they  should  seek  to  bring  their  own  forms  as  nearly  to 
this  ideal  as  possible.  It  is  as  important  for  them  as  for 
the  sculptor.  True,  flesh  and  bones  are  not  so  plastic  in 
our  hands  as  the  clay  model ;  still,  our  forms  will  yield 
more  or  less  in  obedience  to  well-directed  efforts. 

The  commonest  faults  in  the  forms  of  the  present  gener- 
ation are:  1.  One-sidedness,  —  an  unequal  development 
of  the  two  sides  of  the  body.  2.  Hollow  chest,  which  in- 
volves a  pitching  forward  of  the  shoulders,  projection  of  the 
shoulder-blades,  crooking  of  the  collar-bone,  and  drooping 
of  the  head.  3.  Slender  waist,  especially  in  women. 

These  peculiarities  are  neither  healthful  nor  beautiful, 
and  only  an  ignorant  mind  or  a  perverted  taste  would  ever 
regard  them  as  such.  On  the  score  of  health,  the  distorted 
feet  of  the  Chinese  or  the  deformed  skulls  of  the  Flathead 
Indians  are  less  objectionable  than  the  cramped  waists  of 
our  devotees  of  fashion.  As  regards  beauty,  it  is  hard 
telling  whio-h  infringes  most  upon  a  true  ideal.  Certain  it 
is  that  a  »f  ulptor  who  should  attempt  to  rival  the  Venus  de 
Medici  by  presenting  a  figure  in  marble  modelled  after  the 


PHYSICAL   CULTURE  IN   SCHOOLS.  b 

forms  shown  in  a  modern  fashion-plate  would  be  derided. 
No  portrayal  can  easily  exaggerate  the  evils  which  follow  in 
the  train  of  these  deformities.  Teachers  cannot  perform  a 
higher  service  for  their  pupils  than  by  leading  them  to  see 
that  a  beneficent  Creator  has  framed  them  according  to  his 
own  idea,  and  that  any  wilful  distortion  of  their  bodies  is  a 
sin  as  well  as  a  folly. 

II.  PROPER   POSITION  AND  CARRIAGE  OP   THE   BODY.  — 
Under  this  head  we  include  the  habits  of  the  pupil  in  ref- 
erence to  sitting,  standing,  walking,  and  the  movements  of 
the  body  and  limbs  generally.     Ease,  dignity,  and  grace  of 
carriage  should  be  cultivated.     All  exercises  which  do  not 
tend  to  these  ends  are  of  questionable  utility.     The  drill 
motions  cannot,  from  the  necessity  of  the  case,  be  all  of 
them  intrinsically  graceful ;  but  they  should,  in  a  degree, 
satisfy  our  aesthetic  sense,  and  should  tell  favorably  upon 
the  habitual  bearing  of  the  pupil.     No  exercise  is  desirable 
which  requires  awkward  or  unnatural  movements. 

III.  RIGHT  HABITS  OF  BREATHING.  —  Good  air  is  one  of 
the  first  essentials  in  physical  and  vocal  exertion.     No  one 
can  keep  the  body  and  mind  vigorous  for  any  great  length 
of  time  in  impure  air.     And  the  most  impure  air  is  that 
which  is  filled  with  the  emanations  from  the  human  system. 

The  lungs  sho\ild  be  trained  to  free,  full,  and  vigorous 
action.  They  are,  so  to  speak,  the  very  springs  of  vitality. 
The  more  immediate  importance  of  the  lungs  in  the  animal 
economy  will  be  brought  to  mind  when  we  recollect  that  a 
person  may  live  for  days  without  food ;  but  to  deprive  him 
of  air,  even  for  a  few  moments,  is  to  deprive  him  of  life 
itself.  If  our  breathing  is  imperfect,  all  the  functions  of 
body  and  mind  are  impeded.  In  fact,  the  manner  of  breath- 
ing at  any  particular  time  is  almost  as  good  a  test  as  the 
pulse  itself  of  the  general  state  of  the  system,  physical  and 
mental. 


6  PHYSICAL    AND    VOCAL    TRAINING. 

One  of  the  commonest  faults  in  the  use  of  the  lungs  ia 
the  habit  of  breathing  as  it  were  from  their  surface,  not 
bringing  sufficiently  into  play  the  costal  and  abdominal 
muscles.  By  watching  the  domestic  animals,  —  a  horse  or 
cow,  for  instance,  —  we  may  learn  a  lesson  in  breathing.  We 
perceive  that  there  is  very  little  motion  near  the  fore  ex- 
tremities, but  the  breath  is  impelled  from  the  flanks.  So 
should  we  have  the  main  action  at  the  waist  and  below  the 
waist.  Any  form  of  dress  or  belt,  therefore,  which  constrains 
the  base  of  the  lungs  and  presses  upon  the  stomach  and 
intestines  must  do  serious  harm. 

IV.  GOOD  VOICE.  —  Intimately  connected  with  the  func- 
tion of  breathing  is  that  of  vocalization.  And  it  is  perhaps 
because  the  culture  of  the  voice  involves  the  training  of  the 
lungs,  that  vocal  exercises  are  so  generally  acknowledged  as 
contributing  to  health.  So  great  importance  did  the  Greeks 
attach  to  this  feature  of  human  development,  that  the  tyro 
passed  through  the  hands  of  at  least  three  different  masters 
in  this  department  alone  before  completing  his  course.  One 
master  developed  the  power  and  range  of  his  voice  ;  an- 
other improved  its  quality ;  a  third  taught  modulation  and 
inflection.  And  when  we  consider  the  bodily  functions 
brought  into  play,  and  the  all-important  service  rendered 
to  the  mind,  by  the  voice,  we  shall  not  think  that  they 
overrated  this  branch  of  culture. 

The  production  of  voice  is  a  muscular  operation.  It  calls 
into  action  many  organs  directly  related  to  the  vital  econ- 
omy ;  and,  consequently,  every  step  taken  toward  perma- 
nently improving  the  voice  is  so  much  done  toward  building 
up  the  health  and  vitality  of  the  general  system.  When 
teachers  feel  that  they  are  improving  the  reading  and  sing- 
ing of  their  pupils  while  they  give  them  healthful  exercises, 
they  will  not  be  so  likely  to  consider  physical  exercises  a 
repulsive  drudgery,  or  the  practice  of  them  as  so  much  lost 
time. 


PHYSICAL   CULTURE   IN   SCHOOLS.  7 

The  faults  in  voice  are  too  numerous  to  be  specified  here. 
The  one  most  prevalent  in  schools  is  the  hard,  unnatural, 
half-screaming  tone  in  which  both  teachers  and  scholars 
carry  on  their  i-ecitations.  The  natural,  easy,  musical 
quality  of  voice  which  marks  refined  society  should  be 
cultivated  in  the  school-room  from  the  beginning.  Imagine 
a  polite  person  asking  a  visitor  to  take  a  chair,  in  the  tone 
used  by  scholars  in  reciting  their  arithmetical  lesson !  Yet 
the  forced  and  stilted  tone  is  as  fitting  in  the  one  case  as  in 
the  other.  It  is  true,  scholars  must  often  speak  loudly  in 
the  school-room ;  but  the  tone  may  be  loud  and  pleasant  at 
the  same  time. 

V.  HEALTH.  —  This  is,  hiimanly  speaking,  the  pearl  of 
great  price,  beside  which  no  other  earthly  blessing  can  be 
placed,  and  without  which  everything  else  loses  its  charm. 
Nowhere  in  our  educational  system  is  there  so  great  a  de- 
fect as  the  failure  to  secure  attention  to  hygienic  laws. 
To  cultivate  the  brain  while  we  neglect  the  vital  system 
is  as  absurd  as  to  furnish  a  powerful  engine  to  a  frail  boat. 
The  more  we  increase  the  steam  power,  the  more  should  we 
make  sure  that  the  hull  is  stanch.  We  rush  to  destruction 
when  we  force  the  engine  unduly.  Nervous  diseases  and 
frail  constitutions  are  becoming  every  day  more  abundant ; 
and  they  will  continue  to  increase,  till  an  intelligent  hy- 
giene shall  furnish  the  true  preventive.  Proper  habits  of 
dress,  diet,  sleep,  cleanliness,  and  exercise  are  of  infinitely 
more  importance  to  a  child  than  the  geography  of  Siberia 
or  the  history  of  the  Dark  Ages.  Yet  the  latter  absorb  a 
large  share  of  time  in  schools  where  not  a  word  is  said  of 
the  former.  May  it  not  be  asked  with  solemn  emphasis, 
What  shall  it  profit  a  child  to  gain  a  whole  world  of  book- 
knowledge,  if,  in  gaining  it,  he  forfeits  the  chief  condition 
of  earthly  welfare,  —  bodily  health  1 


PHYSICAL  AMD   VOCAL   TRAINING. 


CHAPTEE    II. 

HINTS   AND   CAUTIONS. 

1.  SEE  that  you  have  pure  air  always,  with  at  least  oe 
casional  sunshine,  and,  if  possible,  pleasant  surroundings. 

2.  Be  cheerful  and  enthusiastic.      Be  in  earnest.      Use 
your  will.     Dull  and  lifeless  exercises  are  of  little  use. 

3.  Believe  that  success  in  this  department  is  quite  aa 
important  as  in  any  other,  and  act  accordingly. 

4.  Let  there  he  a  military  promptness,  order,  and  exact- 
ness in  all  the  movements. 

5.  Do  not  attempt  too  much  at  any  one  time.     A  few 
exercises  performed  with  intelligence  and  hearty  energy  are 
better  than  a  long,  listless  routine. 

6.  Do  not  be  alarmed  if  you  feel  a  little  giddiness  or 
faintness  as  a  result  of  the  exercises,  especially  in  breath- 
ing.     When  these  symptoms  appear,  stop  for  a  few  mo- 
ments, and  then  resume  your  practice  at  will.     After  a  few 
days,  such  sensations  entirely  disappear. 

7.  A  little  muscular  soreness  is  of  no  consequence.     But 
if  positive  pain  is  caused,  be  more  gentle  and  gradual. 

8.  If  the  pupil  have  sharp  pain  in  the  lungs,  especially 
under  the  shoulder-blades,   or  should  the  beating  of  the 
heart  become  excessively  rapid  and  irregular,  he  should  be 
very  gentle  and  careful  in  his  practice.     These  symptoms 
will  rarely  if  ever  be  induced  by  any  exercises  prescribed  in 
this  volume.     If  they  do  appear,  it  is  doubtful  whether  the 
subject  of  them  is  well  enough  to  be  in  a  school-room. 

9.  No  scraping  or  irritation  of  the  throat  or  disposition 


HINTS   AND   CAUTIONS.  9 

to  cough  will  ensue  from  the  breathing  or  vocal  exercises 
when  rightly  practised. 

10.  On  the  whole,  the  exercises  should  be  so  conducted 
as   to    leave    the    pupils    at    the    close   enlivened   and    ex- 
hilarated. 

11.  The  ingenious  teacher  will  vary  the  exercises,  so  as 
to  avoid  that  sameness  which  degenerates  into  lifeless  rou- 
tine.    Surprise  the  scholars  by  unexpected  changes,  so  as  to 
keep  them  on  the  alert. 

12.  Singing  or  counting  aloud  by  the  pupils  while  exer- 
cising is  not  as  a  general  thing  to  be  recommended.     If 
practised,  choose  those  movements  only  which  act  in  har- 
mony with   the   respiratory  action.      For   instance,   let  a 
person  attempt  to  expel  the  breath  while  raising  the  arms 
for  a  blow,  and  inhale  while  striking  violently,  he  will  per- 
ceive that  the  effort  is  unnatural.     Reverse  this,  and  there 
is  harmony  between  the  muscular  and  respiratory  action. 

13.  Heavy  blows  on  the  lungs  are  to  be  avoided.    Smart, 
percussive  blows  may  be  struck  on  the  chest  when  the  lungs 
are  filled. 

14.  Movements  should  be  such  as  to  completely  stretch 
the  muscles ;  but  violent  jerkings  should  be  avoided. 

15.  The  best  movements  are  those  which  give  alternate 
tension  and  relaxation  to  those  muscles  which  we  wish  to 
cultivate.     So  in  the  exercise  as  a  whole,  there  should  be 
intervals  of  complete  relaxation  and  rest. 


1* 


10 


PHYSICAL   AND   VOCAL   TRAINING. 


CHAPTEE    III. 

POSITION   AND   CARRIAGE    OF    THE   BODY. 

I.    Sitting  Position. 

1.  REST  the  feet  fully  on  the  floor,  forming  an  angle 
of  sixty  degrees. 

2.  Sit  (not  lean)  as  far  back  in  the  seat  as  possible ; 
supporting  the  lower  part  of  the   spine  against  the  back 
of  the  chair. 

3.  Knees  bent  nearly  at 
a  right  angle. 

4.  Body   square    to    the 
front. 

5.  Chest  expanded. 

6.  Hands  fall  easily  in  the 
lap,  close  to  the  body,  little 
fingers  downward. 

7.  Shoulders  square. 

8.  Shoulder-blades  flat. 

9.  Head  erect ;  not  tipped 
in  either  direction. 

10.  Chin  slightly  drawn 
in. 

11.  Raise  the  form  to  the  full  height. 

12.  Poise  the  body  slightly  forward. 

13.  Eyes  straight  to  the  front. 

14.  Ear,  shoulder,  and  hip  in  line. 

This  position  should  be  frequently  practised  as  an  ex- 
ercise ;  but  pupils  should  be  required  to  remain  in  it  only  a 


POSITION   AND    CARRIAGE  OF   THE   BODY. 


11 


few   minutes  at  a  time.       The  younger  the  scholars,   the 
oftener  should  they  be  allowed  to  change  their  position. 

II.    Poise  forward  and  back. 

First.    Incline  slowly  forward  thirty  degrees  from  the  per- 
pendicular, —  or  till  toiich- 
ing  the   desk  in   front,  — 
without  drooping  the  head 
or  bending  the  spine. 

Second.  Steadily  return 
to  position. 

Third.  Incline  the  body 
steadily  backward  thirty 
degrees,  or  as  far  as  the 
back  of  the  chair  will  ad- 
mit, without  bending  the 
neck  or  back. 

Fourth.  Slowly  return 
to  position.  Fig.  2. 

The  teacher  may  regulate  the  exercise  by  counting  in 
exact  time  four  to  each  movement. 

III.    Head  turn  right  and  left. 

First.  Turn  the  head,  which  is 
at  the  same  time  held  erect,  to 
the  right,  till  the  right  eye  comes 
in  a  straight  line  with  the  front 
of  the  shoulder. 

Second.  Turn  the  head  front, 
to  position. 

Third.  Turn,  as  above,  to  the 
left. 

Fourth.     Turn  to  position.  Fig.  3. 

Give   the  time   of  two   counts  to  each   movement,   and 
remain  fixed  during  the  third  and  fourth  counts. 


12 


PHYSICAL   AND   VOCAL   TRAINING. 


IV.    Head  bend  forward  and  back. 

First.  The  chin,  without  any  change  in  the  position  of 
the  body,  is  gently  moved  downward  and  forward,  till  the 
face  forms  an  angle  of  forty-five  degrees  with  the  trunk. 


Fig.  4.  Fig.  5. 

Second.  Raise  the  head  slowly  upward  to  the  vertical 
position. 

Third.  Move  the  chin  gently  upward  and  backward  till 
an  angle  of  forty-five  degrees  is  formed. 

Fourth.     Extend  the  head  upward  to  position. 

Time  of  the  movements  same  as  in  the  preceding  exercise. 

V.    Head  bend  right  and  left. 

First.  Bend  the  head  directly  to 
the  right,  till  an  angle  of  forty-five 
degrees  is  formed  with  the  trunk. 

Second.  Raise  the  head  slowly  to 
the  vertical  position. 

Third.  Bend  the  head  to  the  left, 
as  above. 

Fourth.     Return  to  position. 
Time  as  in  the  preceding. 
The  foregoing  exercises  may  be  practised  occasionally  with 
a  quick  motion  ;  but  ordinarily  a  slow  and  steady  movement 
is  to  be  preferred. 


POSITION   AND   CARRIAGE   OF   THE   BODY. 


13 


VI.    Standing  Position 

1.  Heels  in  a  line,  and  together. 

2.  Feet  turned  equally  outward, 
forming  an  angle  of  sixty  degrees. 

3.  Knees  straight. 

4.  Body  square  to  the  front. 

5.  Chest  expanded  and  advanced, 
but  without  constraint. 

6.  Arms  hang  easily  at  the  side. 

7.  Shoulders  equal  height. 

8.  Shoulder-blades  flat. 

9.  Head     erect,     raised     at     the 
crown,  not  tipped  in  any  direction. 

10.  Chin  slightly  drawn  in. 

11.  Form     raised     to     the     full 
height. 

12.  Body  poised  slightly  forward, 
so  that  the  weight  bears  mainly  on 
the  ball  of  the  foot. 

13.  Eyes  straight  to  the  front. 

14.  Whole  figure  in  such  a  posi- 
tion that  the  ear,  shoulder,  hip,  knee, 
and  ankle  are  all  in  a  line. 

No  pains  should  be  spared  to  get 
this  position  exactly  ;  and  the  pupil 
should  be  required  to  observe  its 
main  points  whenever  he  stands  to 
read  or  recite,  in  order  to  estab- 
lish as  a  habit  an  erect  and  dignified 
carriage  of  the  body. 

Weak  children  need  to  be  partic- 
ularly cautioned  against  making  the 
back  too  hollow,  and  drooping  the 
head. 


14 


PHYSICAL   AND   VOCAL   TRAINING. 


Fig.  10. 


VII.    Poise  forward  and  backward. 

First.  Carry  the  weight  of  the 
body  as  far  forward  as  possible,  with- 
out lifting  the  heels  or  bending  the 
spine.  The  ankle  joint  yields,  but 
the  other  joints  remain  inflexible. 

Second.  Return  steadily  to  po- 
sition. 

Third.  Carry  the  weight  of  the 
body  as  far  back  as  possible,  so  as 
to  bear  mainly  on  the  heels,  but 
without  lifting  the  toes.  Spine  and 
joints  inflexible,  as  in  preceding  ex- 
ercise. 

Fourth.  Return  steadily  to  po- 
sition. 

Four  counts  to  each  movement. 

VIII.    Rise  on  the  Toes. 

First.  Raise  the  body  gently  upon 
the  toes  by  extension  of  the  instep. 
The  position  of  the  body  remains  as 
in  the  commencing  position,  the  knees 
extended.  The  trunk  and  head,  kept 
in  a  straight  line  with  the  legs,  are 
placed  forward  during  the  raising, 
without  losing  the  balance. 

Second.  Gently  return  to  position. 
Two  counts  are  required  in  ascend- 
ing, two  while  remaining  firmly  sus- 
pended, two  in  descending,  and  two 
while  in  position. 

The  same  exercise  may  be  practised 
rising  on  one  foot  at  a  time. 


POSITION   AJX'D   CARRIAGE   OF   THE   BODY. 


15 


IX.    Body  bend  forward  and 

First.  Bend  the  trunk  slow- 
ly forward,  the  knees  remain- 
ing extended,  the  eyes  straight 
forward.  Bend  only  at  the 
hip  joint,  the  arms  falling  nat- 
urally. 

Second.  Rise  slowly  till  in 
the  upright  position. 

Third.  Bend  the  body  gen- 
tly backward.  The  position  of 
the  head  with  respect  to  the 
body  remains  immovable;  the 
knees  remain  straight ;  the  hips 
are  pushed  a  little  forward. 

Fourth.    Return  to  position. 

Two  counts  to  each  move- 
ment, and  two  to  remain  fixed. 

At  the  discretion  of  the 
teacher  the  position  of  the 
arms  may  be  varied.  They 
may  be  allowed  to  fall  through- 
out the  exercise ;  or  they  may 
be  supported  at  the  waist 
(akimbo) ;  or  they  may  fall  in 
the  forward  movement,  and 
be  placed  on  the  hips  in  the 
backward  movement. 

This  exercise  and  the  two 
following  must  be  performed 
gently.  They  have  an  effect  in 
strengthening  the  muscles  of 
the  waist  and  back,  and  in  giv- 
ing an  impulse  to  the  diges- 
tive organs. 


12. 


16 


PHYSICAL   AND   VOCAL   TRAINING. 


Fig.  13. 


14 


X.    Bodt/  bend  right  and  left. 

First.  Bend  the  body  slowly  to 
the  right.  Both  feet  remain  firm, 
the  knees  straight ;  the  right  hand 
falls  low  enough  to  touch  the  out- 
side of  the  knee. 

Second.    Return  to  position. 

Third.  Bend,  as  above,  to  the 
left. 

Fourth.     Return  to  position. 

Time  as  in  preceding  exercises,  — 
two  counts  during  the  first  move- 
ment ;  two,  remaining  fixed ;  two, 
returning  to  position ;  two,  remain- 
ing fixed  there  ;  then  repeat  to  the 
left. 

XT.    Body  turn  right  and  left. 

First.  Turn  the  trunk  to  the 
right ;  legs  straight  and  close,  feet 
firm.  The  head  does  not  turn  by 
itself,  but  moves  at  the  same  time 
with  the  trunk ;  and  the  elbows 
remain  in  the  same  position  with 
respect  to  the  body  as  at  the  begin- 
ning of  the  movement. 

Second.    Return  to  position. 

Third.    Turn  to  the  left  as  above, 

Fourth.    Return  to  position. 

Time  same  as  the  above. 

Nos.  X.  and  XI.  may  be  practised 
occasionally  in  the  sitting  position  ; 
also  with  the  arms  extended  hori- 
zontally, 


POSITION   AND   CARRIAGE   OF   THE    BODY. 


17 


XII.    Bend  the  Knees. 

Commencing  position,  on  the  toes. 

First  movement.  Bend  the  knees. 
The  body  is  kept  perpendicular,  and 
slowly  descends  till  sitting  upon  the 
heels. 

Second  movement.  The  knees  are 
slowly  straightened  and  the  body  is 
raised  upward,  without  losing  its  per- 
pendicular position. 

Four  counts  to  each  movement ; 
four,  remaining  fixed. 

This  is  a  somewhat  severe  exercise, 
and  need  never  be  repeated  more  than 
three  times  in  succession. 

It  may  be  practised  also  with  the 
arms  crossed  behind  the  back. 

XIII.    Speaker's  Position. 

Throw  the  weight  of  the  body 
firmly  on  the  left  foot,  and  ad- 
vance the  right  foot  about  three 
inches,  allowing  it  to  rest  lightly, 
with  the  knee  a  little  bent. 

Reverse  this  position  by  throw- 
ing the  weight  on  the  right  foot, 
and  leaving  the  left  easily  ad- 
vanced. 

A  line  dropped  through  the 
front  of  the  neck  will  fall  on  the 
instep  of  the  supporting  foot.  A 
line  drawn  lengthwise  through  the 
centre  of  the  advanced  foot  passes 
through  the  heel  of  the  other. 


Fig.  15. 


Fig.  16. 


18 


PHYSICAL    AND    VOCAL    TRAINING. 


XIV.    Holding  the  Book  for  reading. 

Hold  the  book  flatly  open  in 
the  left  hand  with  three  fingers 
beneath  it,  and  the  thumb  and 
little  finger  above,  to  keep  the 
leaf  down. 

Advance  the  elbow  a  few  inches, 
and  raise  the  fore-arm  from  thirty 
to  forty-five  degrees,  so  as  to  se- 
cure perfect  vision  without  bend- 
ing the  neck  or  body. 

If  necessary,  depress  the  plane 
of  the  book  so  as  not  to  hide  the 
face. 

Observe  the  same  general  di- 
rections when  reading  aloud  in  a 
sitting  position. 


Kg.  17. 


XV.     Walking. 

The  main  points  of  the 
"  standing  position  "  must  be 
observed  in  walking  ;  thus  :  — 

1.  Body  erect. 

2.  Head  raised. 

3.  Eyes     looking     straight 
forward. 

4.  Chest  active  (see  Fig.  1 9). 

5.  Arms  fall  easily,  and  are 
allowed  a  gentle,  natural  swing. 

6.  Feet  point  outward  thir- 
ty degrees. 

7.  The  steps  must  be  reg- 
ular  in    time    and    equal    in 


Fig.  18. 


CARRIAGE  AND  DEVELOPMENT  OF  THE  CHEST. 


19 


length,  —  somewhat  as  in  the  military  march,  but  with- 
out rigidity  or  stamping. 

8. '  In  a  quick  or  ordinary  step,  the  heel  of  the  advanced 
foot  strikes  the  ground  first  In  a  very  slow  and  long  step 
the  outside  toes  strike  first. 

9.  All  the  muscles  of  the  body  must  be  in  a  state  of 
easy,  elastic  tension.  "  All  lassitude,  bending,  carelessness, 
falling  of  the  head,  dangling  of  the  limbs,  bending  of  the 
trunk,  and  loose,  irregular  gazing  should  be  avoided." 


CHAPTER    IV. 


CARRIAGE  AND  DEVELOPMENT  OF  THE  CHEST. 


I.    Active  and  Passive  Chest. 

Standing  position. 

First.  Relax  the  muscles  and 
allow  the  chest  to  fall  listlessly,  as  if 
fatigued.  This  is  the  passive  chest. 

Second.  Elevate  and  expand  the 
chest  in  a  position  of  dignity  and 
self-reliance,  somewhat  as  if  defying 
a  blow.  This  is  the  active  chest. 

This  exercise  should  be  simply 
muscular,  and  not  depend  upon  the 
breathing. 

The  habit  should  be  established  of 
keeping,  without  restraint,  the  active 
chest  in  standing,  walking,  running, 
and  whenever  using  the  voice,  —  as 
in  reading,  declaiming,  and  singing. 


Fig.  19. 


20 


PHYSICAL    AND    VOCAL    TRAINING. 


II.    Percussion  of  the  Chest. 

Place  the  hands  on 
the  chest  with  the  fore- 
fingers jiist  below  the 
collar-bones,  fore-arms 
horizontal.  Take  a  deep 
inspiration  through 
the  nostrils.  Hold  the 
breath. 

fig  20.  First.      Strike  on  the 

chest  rapid  percussive  blows  with  the  flat  of  the  fingers  ; 
the  wrists  being  slack.     Time,  four  counts. 

Second.  Give  out  the  breath  through  the  nostrils,  — 
two  counts.  Inhale  a  deep  breath,  —  two  counts.  Repeat 
from  first  movement. 

The  blows  must  be  light  and  gentle  for  the  first  few 
weeks  of  practice  ;  and  may  be  gradually  increased  in 
force,  but  must  never  be  rigid  and  jarring. 

III.    Chest  Expansion. 

Elbows  sharply  bent  and  close  to  the  side  ;  fore-arm 
horizontal ;  fists  clenched,  palms  upward.  Take  a  deep 

inspiration.     Hold  the  breath. 

First.  Extend  the  arms  full 
length  forward,  relaxing  the 
muscles  and  opening  the  hands, 
palms  downward. 

Second.     Bring  the  arms  en- 
ergetically back  to  their  former 
position,  endeavoring  to  expand 
the  chest  as  much  as  possible. 
Third.       Expel    the    breath 
Fig.  21.  through     the     nostrils,  —  two 

counts ;  take  a  fresh  inspiration,  —  two  counts  ;  and  repeat 
from  first  movement. 


CARRIAGE  AND  DEVELOPMENT  OF  THE  CHEST.    21 


IV.    Percussion  with  Arm  Movements. 

The  hands  fall  easily  at  the  side. 
Take  a  full  breath. 

First.  Swing  the  arms  from  the 
shoulder  alternately,  with  slack 
joints,  giving  elastic  blows  upon  the 
lungs,  striking  with  the  flat  of  the 
fingers  just  below  the  collar-bone. 
The  right  hand  strikes  upon  the 
left  lung,  and  the  left  hand  upon 
the  right  lung.  Give  two  blows 
with  each  hand. 

Second.  Exhale  and  inhale  the 
breath  as  in  the  preceding  exercises.  Fie-  22- 

V.    Shoulder  Movements. 

Arms  falling  easily  at  the  side.     Take  a  full  breath. 

First.  Bring  the  shoulders  forward  and  inward,  con- 
tracting the  chest. 

Second.  Throw  the  shoulders  back  and  down,  expand- 
ing the  chest.  —  Repeat  these  two  movements. 

Third.  Expiration  and  inspiration  of  the  breath  as  in 
preceding  exercises. 

VI.    Shoulder  Movements.  —  Rent  Arms. 

Clenched  fists  at  the  side  of  the  shoulders,  palms  forward, 
fore-arms  vertical. 

First.  Bring  the  open  hands, 
palms  inward,  so  as  to  touch 
each  other  about  three  inches  in 
front  of  the  chin. 

Second.  Throw  the  fore-arms 
back  to  the  side  as  in  the  com- 
mencing position,  fists  clenched, 
palms  outward.  —  Repeat.  Fi--  23 

Third,     Change  the  breath  as  in  the  preceding. 


PHYSICAL   AND    VOCAL   TRAINING. 


VII.    Extension  Movement. 

Standing  position. 
First.  Arms  extended 
horizontally  forward,  the 
middle  fingers  touching  at 
the  points,  —  forming  a 
graceful  curve. 

Second.  Raise  the  arms 
to  an  angle  of  forty-five  de- 
grees from  the  level  of  the 
shoulders. 

Third.  Raise  the  arms, 
fingers  touching,  directly 
above  the  head. 

Fourth.  Carry  the  arms, 
fingers  still  touching,  as 
far  backward  as  possible, 
thumbs  pointing  to  the  rear, 
elbows  pressed  back,  shoul- 
ders kept  down,  and  head 
erect. 

Fifth.  Extend  the  arms  as  straight  and  as  far  back- 
ward as  possible,  at  an  elevation  of  forty -five  degrees. 

Sixth.  Carry  the  arms  backward  and  downward  till 
they  reach  the  level  of  the  shoulders. 

Seventh.    Continue  the  movement  with  straight  arms  half- 
way downward,  keeping  the  head  erect  and  chest  expanded. 
Eighth.     Arms  return  gradually  to  their  position  at  the 
side. 

This  exercise  may  be  practised  also  with  a  continuous 
movement,  without  stopping  at  the  various  positions  indi- 
cated above. 

It  may  also  be  practised  with  the  head  turned  to  the 
right  or  left,  while  the  body  is  kept  square  to  the  front. 


Fig.  24 


CARRIAGE  AND  DEVELOPMENT  OF  THE  CHEST.   23 


Fig.  25. 

This  is  a  severe  movement,  and  should  not  be  repeated 
more  than  two  or  three  times  in  succession,  till  the  pupil 
has  acquired  some  proficiency. 

VIII.    Circular  Movement  with  bent  Arms. 

Position. 

Touch  the  shoulders  lightly 
with  the  tips  of  the  fingers. 

First.  Bring  the  elbows  for- 
ward in  front  of  the  body.  '••.._ 

Second.  Lift  the  elbows  as 
high  as  possible. 

Third.  Throw  the  elbows 
back,  —  the  fingers  still  touch- 
ing the  shoulders. 

Fourth.  Carry  the  elbows  around  to  the  commencing 
position,  meanwhile  expanding  the  chest. 


Fig.  26. 


24 


PHYSICAL   AND   VOCAL   TRAINING. 


CHAPTER    V. 


BREATHING  AND  DEVELOPMENT  OF  THE  LUNGS. 

I.    Breathing  with  Arm  Movements. 

Position. 

First.  Bring  the  tips  of  the 
fingers  to  the  shoulders,  inhal- 
ing the  breath  through  the  nos- 
trils at  the  same  time. 

Second.  Strike  downward  and 
forward,  clenching  the  fists  with 
palms  front,  and  expelling  the 
breath  through  the  nostrils  with 
the  movement. 

The  breath  mxist  be  expelled 
by  the  action  of  the  diaphragm 
and  its  auxiliary  muscles  of  the 
waist  and  abdomen.  This  will 
naturally  be  the  case  if  the  pu- 
_  pil  makes  a  decisive  motion  of 

Fig  27  the  arms  and  clenches  the  fists. 

II.    Deep  Breathing. 

Position.     Arms  akimbo. 

First.  Inhale  a  deep  breath  slowly  and  tranquilly 
through  the  nostrils,  taking  care  not  to  raise  the  shoulders. 

Second.  Give  out  the  breath  tranquilly  through  the 
nostrils,  holding  the  chest  expanded  with  easy  firmness. 


BREATHING  AND  DEVELOPMENT  OF  THE  LUNGS.   25 

III.    Abdominal  Breathing. 

Position  as  in  preceding  exer- 
cise. 

First.  Inhale  through  the  nostrils. 
The  walls  of  the  abdomen  are  thrown 
outward  and  become  convex. 

Second.  Expel  the  breath  through 
the  nostrils.  The  abdominal  walls 
are  drawn  inward  and  flattened. 

Fig.  28. 

IV.  Costal  Breathing. 

Place  the  palms  of  the  hands 
against  the  lower  ribs. 

First.  Inhale  through  the  nos^ 
trils,  and  expand  the  waist  side- 
wise  as  much  as  possible. 

Second.  Expel  the  breath  by 
contracting  the  waist  sidewise. 
This  contraction  may  be  aided  by 
pressing  with  the  palms  against  p;g.  20. 

the  lower  ribs. 

V.  Dorsal  Breathing. 

Hands  at  the  waist,  thumbs  forward  and  fingers  pressing 
upon  the  small  of  the  back,  each  side  of  the  spine. 

First.  Direct  the  will  to  the  muscles  on  which  the  fin- 
gers are  resting,  and  throw  them  outward  as  much  as  pos- 
sible, while  inhaling  the  breath. 

Second.  Draw  these  muscles  inward  to  expel  the  breath. 
The  movement  of  the  muscles  of  the  back  will  naturally  be 
much  less  than  that  of  the  abdominal  muscles  ;  and  they 
are  mutually  dependent. 

2 


26  PHYSICAL    AND   VOCAL    TRAINING. 

VI.    Waist  Breathing. 

Hands  at  the  waist,  fingers  forward. 

First.  Inhale,  and  expand  the  waist  in  all  directions,  aa 
if  trying  to  burst  a  belt. 

Second.  Contract  the  whole  waist  and  expel  the  breath. 
Do  not  allow  the  upper  part  of  the  chest  to  collapse. 

VII.    Seizing  the  Breath. 

First.      Inhale  through  the  nostrils. 

Second.  Hold  the  breath  a  moment  with  a  slight  effort 
similar  to  that  made  in  lifting  a  heavy  weight.  The  mus- 
cles of  the  waist  and  abdomen  will  be  firm  and  elastic  like  a 
drum-head. 

Third.     Give  out  the  breath  as  you  please. 

VIII.    Expulsive  Breathing. 

First.     Inhale  through  the  nostrils. 

Second.  Expel  through  the  mouth  as  if  whispering  the 
syllable  Hoo  !  to  a  person  at  a  distance. 

Give  out  the  breath  in  a  firm  and  full  column. 

IX.  Abrupt  Breathing. 

First.     Catch  the  breath  quickly  through  the  nostrils. 
Second.     Emit  the  breath  with  a  sudden  brief  whisper, — 
Hoo! 

X.  Effusive.  Breathing. 
First.     Inhale  a  full  breath. 

Second.  Exhale  through  the  open  mouth  in  the  most 
gradual  manner  in  a  prolonged  sound  of  the  letter  h,  mak- 
ing a  gentle  breathing  murmur,  as  of  a  sea-shell  when  held 
to  the  ear.  The  expiration  may  thus  be  prolonged  from 
twenty  to  forty  seconds.  Never  carry  the  exercise  to  any 
painful  or  fatiguing  extent.  • 


BREATHING  AND  DEVELOPMENT  OF  THE  LUNGS.   27 


XI.    Rapid  Breathing. 

Breathe  rapidly  and  gently  through  the  open  mouth, 
taking  care  to  impel  the  breath  from  the  base  of  the  lungs. 
There  will  be  a  slight,  elastic  motion  of  the  front  muscles 
of  the  body,  at  the  point  indicated  by  the  letter  D,  fig.  28. 

XII.  Prolonged  Breathing. 

First.  Draw  in  the  breath  through  the  contracted  lips 
as  slowly  and  with  as  little  effort  as  possible. 

Second.  Breathe  out  the  air  through  the  nearly  closed 
lips  slowly  and  gradually. 

XIII.  Unequal  Breathing. 

Place  the  palm  of  the  left  hand 
against  the  side,  close  under  the 
arm-pit.  Bend  the  right  arm  di- 
rectly above  the  head. 

Practise  deep  breathing  in  this 
position. 

Reverse  the  positions  of  the  arms 
and  repeat. 

It  will  be  understood  that,  in  all 
modes  of  breathing,  the  diaphragm  — 
indicated  by  the  dotted  lines  across 
Figs.  28  and  29  —  performs  an  impor- 
tant part.  It  is  drawn  downward  and 
flattened  in  inspiration,  and  curves 
upward  in  expiration  of  the  breath. 

"  The  amount  of  work  a  person 
can  do  is  not  so  much  dependent  on 
his  muscle  as  on  his  breathing  capacity." 

"  The  amount  of  oxygen  received  into  the  system  is  de- 
termined in  a  great  measure  by  the  capacity  of  the  chest 
and  the  degree  of  the  mobility  of  its  walls." 


Fig.  30. 


28 


PHYSICAL   AND    VOCAL   TRAINING. 


CHAPTEE    VI. 


Fig.  31. 


CONTROL   OF   THE    ORGANS    OF   THE   THROAT. 

I.    Raising  the  Soft  Palate. 

THE  veil  of  the  palate  makes  a  sort  of 
curtain  at  the  back  of  the  mouth,  and 
forms  a  partition  between  the  mouth 
below  and  the  nasal  passages  above  it. 
When  it  is  raised  as  high  as  possible,  it 
closes  the  opening  from  the  back  of  the 
mouth  to  the  nostrils,  and  the  vocal 
current  passes  out  entirely  through  the 
mouth.  When  it  is  allowed  to  fall  upon 

the  tongue,  the  passage  to  the  mouth  is  closed,  and  the 

vocal   current  escapes  by  the  nostrils,   producing  a  nasal 

tone. 

When  it  is  partially  contracted,  the 
vocal  current  passes  partly  through  the 
mouth  and  partly  through  the  nose. 
To  avoid  nasality,  the  palate  must  be 
sufficiently  raised. 

The  soft  palate  is  raised  in  the  act 
of  gaping.  The  direction  given,  there- 
fore, to  the  pupil  who  is  learning  to 
control  his  palate  is,  at  first,  to  "  think 
a  gape." 
The  movements  of  the  palate  should  be  studied  before  a 

mirror.     If  the  gaping  effort  should  not  raise  it  sufficiently, 


Fig.  32. 


CONTROL  OF  THE  ORGANS  OF  THE  THROAT. 


29 


a  more  powerful  contraction  may  be  obtained  by  taking  hold 
of  some  heavy  object  and  lifting  with  all  the  might.  The 
palate  will  be  contracted  in  sympathy  with  the  general 
muscular  effort.  The  uvula  (pendent  portion  of  the  palate), 
if  healthy,  may  be  so  contracted  as  entirely  to  disappear 
from  sight. 

Do  not  get  the  impression  that  a  great  effort  is  required 
to  lift  the  palate.  It  is  done  almost  or  quite  uncon- 
sciously, when  the  sensation  of  its  movement  becomes 
familiar. 


II.    Depressing  the  Base  of  the  Tongue. 

In  practising  the  preceding  exercise, 
the  pupil  has  doubtless  observed  that 
the  base  of  the  tongue  has  a  tendency 
to  descend  whenever  the  palate  is 
raised.  But  special  attention  should 
be  given  to  this  movement.  The  prac- 
tice of  the  gape  or  yawn  will  depress 
the  base  of  the  tongue  to  a  certain  ex- 
tent. A  more  perfect  control  over  this 
organ  will  be  gained  by  the  following 
exercises  :  — 

First,  caiTy  the  point  of  the  tongue 
forward  between  the  teeth ;  then  draw  the  whole  tongue 
vigorously  backward,  as  if  trying  to  swallow  it. 

Or,  pass  the  tip  of  the  tongue  along  the  roof  of  the  mouth 
to  a  point  as  far  back  as  possible. 

We  may  test  whether  the  movement  is  successfully  per- 
formed by  placing  a  finger  at  the  front  of  the  neck,  close 
xmder  the  jaw.  The  throat  will  be  thrown  forward  and  out- 
ward like  that  of  a  canary-bird  when  singing,  thus  in- 
creasing the  interior  capacity  of  the  pharynx. 


Fig.  33. 


30 


PHYSICAL   AND   VOCAL   TRAINING. 


These  movements  must  be  studied  and  practised  till  the 
base  of  the  tongue  can  be  easily  and  loosely  dropped  at 
will'. 

III.    Raising  and  Depressing  the  Larynx. 

The  larynx  (Adam's  apple)  rises  and  falls  with  the  move- 
ments of  the  base  of  the  tongue,  to  which  it  is  attached. 
In  the  act  of  swallowing  it  ascends  to  its  highest  position. 
In  gaping  it  descends.  In  singing  the  musical  scale  from 
the  lowest  note  of  the  voice  upward,  the  larynx  gradually 
rises.  The  movement  may  be  verified  by  the  touch. 

The  quality  of  the  voice  is  affected  by  the  position  of  the 
larynx.  If  the  greatest  volume  of  voice  be  desired,  the 
larynx  must  be  held  fixed  in  its  lowest  position. 

IV.    Directing  the  Column  of  Breath. 

The  column  of  breath  proceeding 
upward  through  the  windpipe  will 
strike  different  portions  of  the  roof 
of  the  mouth,  according  as  the  base 
of  the  tongue  and  the  larynx  are 
more  or  less  depressed  ;  when  these 
are  in  their  lowest  position,  the 
breath  naturally  takes  a  vertical  di- 
rection ;  but  may  be  inclined  more 
or  less  toward  the  lips  by  properly 
adjusting  the  organs. 
Watch  the  direction  of  the  breath  while  whispering  in 
succession  the  following  vowels  :  e,  a,  ah,  awe,  oh,  oo.  In 
producing  the  vowel  e  with  a  prolonged  whisper,  the  air 
emitted  will  be  felt  striking  the  upper  gums.  At  the  second 
vowel  it  will  strike  farther  up  on  the  hard  palate.  At  the 
third  it  will  strike  the  middle  of  the  roof  of  the  mouth  : 
and  farther  backward  with  each  successive  vowel.  But  the 


Fig.  34. 


CONTROL  OF  THE  ORGANS  OF  THE  THROAT.    31 

student  must  learn  to  direct  all  the  vowels  to  any  one 
point,  at  will.  In  ordinary  utterance  the  column  must  be 
directed  well  forward  in  the  mouth  ;  but  certain  effects  are 
produced  by  directing  it  farther  backward. 

V.     Whispered  Stroke  of  the  Glottis. 

Utter  with  a  gently  explosive  whisper  the  sound  of  u  in 
the  word  up. 

There  is  in  this  exercise  a  momentary  occlusion  of  the 
glottis,  by  which  the  breath  is  barred  and  accumulated  for 
a  sudden  discharge,  similar  to  what  occurs  with  the  lips  in 
energetically  pronouncing  the  letter  p.  There  is  a  similar 
action  of  the  tongue  against  the  teeth  in  giving  the  sound 
of  t ;  and  against  the  palate  in  the  sound  of  k. 

The  stroke  of  the  glottis  may  be  compared  to  a  cough  ; 
but  it  is  more  gentle  and  sudden.  There  is  no  scraping  or 
rasping  of  the  throat.  When  rightly  performed,  a  slight 
twitch  of  the  soft  palate,  and  sometimes  of  the  nostrils, 
accompanies  it. 

This  exercise  prepares  the  organs  for  the  practice  of  ex 
plosive  tones,  and  for  the  singer's  coup  de  la  glotte. 


32 


PHYSICAL   AND    VOCAL   TRAINING. 


CHAPTER    VII. 


PRODUCTION     OF     TONE. 

IN  order  to  produce  a  good  tone,  the  pupil  must  become 
so  familiar  with  the  following  conditions  that  he  will  fulfil 
them  unconsciously  :  — 

1.  Position. 

2.  Right  carriage  of  the  chest. 

3.  Proper  filling  of  the  lungs. 

4.  Control  of  the  expulsion. 

5.  Right  direction  of  the  vocal  current. 

If  the  exercises  in  the  preceding  chapters  have  been  judi- 
ciously used,  the  above  conditions  have  already  been  mas- 
tered. The  position  is  easily  erect ;  the  chest  is  somewhat 
projected  ;  the  breath  is  quietly  and  promptly  inhaled;  the 

muscles  of  the  waist  and  abdo- 
men are  kept  gently  elastic,  so 
as  to  control  the  expulsion ;  the 
vocal  current  is  directed  toward 
the  front  of  the  mouth. 

I.    Pure  Tone. 

Begin  with  the  vowel  sound 
oo  (as  in  cool).  The  pitch  should 
be  that  which  is  easiest  for 
the  pupil,  —  not  lower  than 

than 


Make  the  tone  gentle,  smooth,  and  musical. 


PRODUCTION   OF   TONE.  33 

If  the  tone  produced  is  too  hard  in  quality,  use  less  mus- 
cular effort,  and  be  sure  to  drop  the  jaw  low  enough  to 
make  room  for  the  vibrations  in  the  mouth. 

If  the  tone  is  husky,  use  less  breath. 

After  a  single  vowel  sound  has  been  produced  with  a 
good  quality  of  voice,  we  may  proceed  to  the  practice  of  the 
various  vowels  as  found  in  the  table  below.  Proceed  in 
practice  from  the  easier  to  the  more  difficult  sound. 

The  form  of  the  mouth  will  of  course  vary  with  the  dif- 
ferent vowels,  but  the  breath  must  take  the  same  direction 

in  all. 

Principal  Vox-el  Soundf. 

a  as  in  ale,  day.  6  as  in  old,  no. 

a  "  "  arm,  car.  6    "  "  ooze,  too. 

a  "  "  all,  law.  5    "  "  on,  cot. 

a  "  "  at,  can.  u    "  "  use,  few. 

e  "  "  eve,  see.  u    "  "  up,  cut. 

e  "  "  end,  met.  u    "  "  full,  wolf. 

I  "  "  ile,  fly.  oi  "  "  oil,  boy. 

I  "  "  in,  pit.  ou  "  "  out,  bow. 

II.    Breath-Tone. 

Proper  position.  Active  chest.  Inhale  a  full  breath 
through  the  nostrils  ;  then  expel  through  the  open  mouth 
with  a  half-whippered  quality  to  the  syllable  Ho  ! 

Try  to  make  the  column  of  half-vocalized  breath  as  large 
and  as  firm  as  possible. 

This  is  a  fatiguing  exercise,  and  can  be  repeated  only  a 
few  times  in  succession  without  exhaustion.  Its  use  is,  to 
increase  the  power  and  fulness  of  the  voice. 

III.    Full  Tone. 

In  addition  to  the  preliminary  conditions  named  in  the 
preceding  exercises  of  this  chapter,  the  pupil  must  give 
attention  to  the  following  points  :  — 

2*  c 


34  PHYSICAL   AND    VOCAL   TRAINING. 

1.  Drop  the  jaw  as  with  its  own  weight 

2.  Raise  the  soft  palate. 

3.  Expand  the  pharynx,  by  easily  dropping  the  base  of 
the  tongue. 

4.  Draw  hi  the  corners  of  the  mouth,  and  slightly  project 
the  lips. 

5.  Fix  the  eyes  on  some  distant  point  above  the  level  of 
the   mouth,  and  throw  or  float  the   tone,  aiming  at  that 
point. 

Do  not  in  any  way  force  or  squeeze  the  tone  ;  but  let  it 
leap  freely  and  joyously  forth. 

Freedom,  ease,  fulness,  and  elasticity  should  characterize 
this  tone  ;  for  a  large  share  of  the  faults  in  quality  proceed 
from  some  constraint  of  body  or  mind. 

Practise  all  the  vowel  sounds,  with  the  above  hints 
in  mind,  —  proceeding  from  the  more  open  to  the  close 
vowels. 

IV.    Projection  of  Tone. 

As  directed  in  the  preceding  exercise,  throw  the  tone 
toward  a  distant  point.  Do  this  with  precision,  as  if  aiming 
an  arrow  at  a  mai'k. 

Throw  the  sound  to  points  at  different  distances  ;  and, 
further,  practise  holding  the  tone,  as  if  steadily  pouring  it, 
like  a  stream  from  a  hose-pipe,  upon  a  given  mark  taken  by 
the  eye. 

If  any  difficulty  is  experienced  in  apprehending  this,  let 
the  pupil  stand  at  the  end  of  a  large  room  and  read  aloud 
"to  himself"  ;  then  let  him  read  to  another  person  at  the 
opposite  end  of  the  room,  with  an  effort  to  make  himself 
understood.  In  the  latter  case  the  voice  will  be  projected. 
An  illustration  is  afforded  where  a  person  calls  to  another 
across  a  stream  :  "  Ho  !  Bring  the  boat  over  !  " 

Practice  should  be  had  in  projecting  soft  tones  as  well  as 
loud  ones,  using  the  different  vowel  sounds. 


PRODUCTION   OF   TONE.  35 

V.    Explosive  Tones. 

Give  two  whispered  strokes  of  the  glottis,  and  at  the 
third  allow  the  tone  to  be  produced  with  the  stroke.  The 
sound  produced  is  sudden,  cutting,  but  gentle  so  far  as  the 
muscular  effort  is  concerned.  There  is  no  straining  nor 
cough.  The  sound  pops  on  the  ear,  with  an  effect  that 
might  be  compared  to  the  percussive  bursting  of  an  inflated 
paper  bag. 

When  cultivated,  the  organs  will  thus  produce  a  pistol- 
like  explosion  without  any  unnatural  effort.  It  requires 
very  little  expenditure  of  breath  ;  forty  or  fifty  explosive 
tones  can  be  made  with  a  single  breath  after  the  knack  is 
acquired. 

When  a  little  facility  is  attained,  the  sounds  should  be 
produced  without  the  preliminary  whisper.  Practise  with 
level  tones  first,  and  afterwards  with  slides,  on  the  various 
vowels. 

Perfection  in  this  exercise  is  to  be  able  to  perform  it  with 
the  most  gentle  and  delicate  precision. 

VI.    Orotund. 

The  term  "orotund"  is  applied  to  the  tones  which  are  the 
fullest  and  grandest  the  organs  are  capable  of  giving  forth. 
In  producing  this  quality,  the  vocal  apparatus  is  brought 
into  its  most  complete  action  ;  the  lungs  are  expanded, 
the  respiratory  muscles  in  energetic  action,  the  vocal  pas- 
sage, from  the  larynx  outward,  opened  roundly  to  the 
greatest  extent.  The  following  points  demand  attention 
in  acquiring  the  orotund  :  — 

1.  The  pharynx  is  expanded. 

2.  The  base  of  the  tongue  is  depressed. 

3.  The  larynx  descends. 

4.  The  veil  of  the  palate  is  raised. 


36  PHYSICAL    AND    VOCAL    TRAINING. 

5.  The  vocal  passage  from  the  glottis  to  the  mouth  is 
made  large  and  round. 

Perhaps  no  specific  direction  can  be  given  the  pupil 
which  will  better  enable  him  to  fulfil  the  above  conditions 
than  to  tell  him  to  make  his  tone  as  in  gaping ;  and  to 
keep  the  muscles  of  the  waist  elastic.  But  as  the  gaping 
quality  will  be  hollow  and  sepulchral,  we  must  be  sure  not 
to  stop  here,  but  see  that  the  column  of  tone  is  sent  forward 
in  the  mouth,  making  it  pleasant  and  musical. 

VII.    Distinction  between  Pure  Tone  and  Orotund. 

There  is  no  exact  line  of  demarcation  between  pure  tone 
and  orotund.  They  are  comparative  terms,  as  light  and 
darkness  are.  There  are  no  two  consecutive  moments  at 
dawn  or  twilight  when  it  can  be  said,  "  Now  it  is  light ;  now 
it  is  dark."  So  the  pure  tone  is  gradually  developed  into 
the  orotund  by  increase  of  volume.  Yet  two  tones  on  the 
same  pitch  may  be  so  different  in  quality  that  we  shall  have 
no  hesitation  in  pronouncing  one  pure  tone,  and  the  other 
orotund.  Pure  tone  is  not  necessarily  soft  nor  orotund 
loud. 

The  chief  physiological  points  of  difference  are  as  fol- 
lows :  — 

In  Pure  Tone.  In  Orotund. 

1.  The  larynx  rises.  1.  The  larynx  is  depressed. 

2.  The  soft  palate  partially  falls.  2.  The  soft  palate  is  raised. 

3.  The  tongue  is  in  its  natural  3.  The  back  of  the  tongue  is 

position.  dropped. 

4.  The  vocal  passage  is  narrow.     4.  The  vocal  passage  is  wide. 

5.  The  air-column  is  directed  to     5.  The  air-column   is  directed 

the  front  of  the  mouth.  (in  learning)  vertically. 

Take  a  moderately  low  pitch  and  produce  a  pure  tone,  as 
directed  above,  then  change  the  action  of  the  organs  so  as 
to  produce  the  orotund  on  the  same  pitch.  Thus  the  dis- 
tinction will  be  fixed  in  the  mind. 


PRODUCTION  OF    TONE.  37 

VIII.    The  Musical  Scale. 

Great  advantage  will  be  derived  from  the  practice  of  the 
musical  scale,  in  giving  purity  and  flexibility  to  the  voice. 

Practise  the  scale  ascending  and  descending  with  slow 
notes,  taking  a  quiet  breath  through  the  nostrils  before  each 
note.  Also  practise  the  scale  with  rapid  runs. 

Take  great  care  to  make  the  tone  free  from  all  huskiness, 
hardness,  nasality,  guttural  quality,  or  other  fault.  Let 
there  be  no  straining,  no  distortion  of  the  features,  or  un- 
pleasant effort  of  any  kind.  Be  sure  not  to  waste  the 
breath  ;  the  less  breath  expended,  other  things  being  equal, 
the  purer  and  clearer  the  tone. 


Common  to  all  voices.          High  voices.  Low  voices. 


IX.    Musical  Chords. 

Divide  the  class  into  three  portions,  and  let  them  practise 
the  chords  given  below.  Let  the  first  division  sound  the 
lowest  note,  the  second  the  middle  note,  the  third  the 
highest  note  ;  then  let  all  three  notes  be  sounded  together. 
Practise  thus,  loud  tones,  soft  tones,  and  swells,  —  the 
latter  by  beginning  very  softly,  increasing  to  the  fullest 
power  of  the  voice,  then  gradually  dying  away  to  silence. 


u     ™f__  f_  _  ™f__ 

KM 


38  PHYSICAL   AND   VOCAL  TRAINING. 


CHAPTEK    VIII. 

VOWEL   ANALYSIS. 
I.     Vowels  in  the  Order  of  tfieir  Formation. 


Long  Vowels. 

1.     EEL 

Short  Vowels. 

ILL 

2. 
3. 

ALE 
AIR 

ELL 
AT 

4. 

AH 

A 

ASK 

5. 

URN- 

UP 

6. 

7. 
8. 

AWE 

6 

OOZE 

Ox 
[ORE] 

FOOT 

Diphthongs.* 
U  =  l-OO  =  YOU 


(  I  =  AH-I 

t  OU  =  IE 


AH-OO 
01  =  0-1 


Note  the  following  points  in  the  above  table,  and  ver- 
ify them  by  practice  :  — 

1.  The  vowels  in  the  first  column  are  long  ;  those  in  the 
second  column  are  short ;  those  in  the  third  column  are 
double,  or  diphthongal. 

2.  Vowels   in    the   same   horizontal    line   are   made   in 
(nearly)  the  same  position  of  the  organs  of  speech  (the 
diphthongs  being  placed  on  the  line  of  their  initial  sound). 

3.  The  tongue  is  raised  nearest  the  roof  of  the  mouth  in 
the  vowel  at  the  top  of  the  column,  and  gradually  sinks  in 
descending  the  column  ;  the  coiaverse  is  of  course  true,  — 

*  Long  A  and  long  0  also  have  a  diphthongal  character,  —  A  having  its 
termination  in  e  or  f,  and  0  having  its  termination  in  do  or  do. 


VOWEL    ANALYSIS.  39 

the  tongue  gradually  rises  toward  the  roof  of  the  mouth  in 
ascending  the  vowel  column. 

4.  The  lips  are  most  extended  sidewise  in  producing  the 
first  vowel ;  they  are  gradually  separated,  reaching  their 
widest  opening  at  the  fourth  vowel,  Ah;  then  they  are 
gradually  contracted,  reaching  their  closest  position  at  the 
foot  of  the  column,  oo. 

II.    Tendencies  of  Unaccented  Vowels. 

The  character  of  the  vowel  is  determined  by  the  shape 
of  the  oral  passage,  that  is,  by  the  adjustment  of  the  tongue, 
palate,  and  lips.  When  these  organs  are  fixed  in  an  exact 
position,  they  become  the  mould  in  which  the  correspond- 
ing vowel  is  cast.  In  careless  or  la/y  utterance  the  organs 
are  imperfectly  adjusted,  and  the  vowels  therefore  imper- 
fectly formed.  Some  positions  of  the  organs  require  less 
effort  than  others  ;  and  it  is  toward  these  easier,  more  lax 
positions  that  vowel  utterance  constantly  tends.  The 
sound  which  requires  the  least  muscular  tension  is  that 
heard  in  urn,  burr,  etc.  ;  and  this  sound  is  frequently  re- 
curring in  the  utterance  of  slovenly  speakers,  thus  :  puta- 
tuh,  for  potato ;  winduh,  for  window ;  whut,  for  what ; 
induvisuble,  for  indivisible  ;  charfity,  for  charity  ;  will  yuh  1 
for  will  you  1  etc. 

But  deviations  from  the  exact  sound  of  the  vowel  prop- 
erly occur  in  syllables  which  are  wholly  without  accent. 
In  the  utterance  of  accented  syllables  the  organs  of  speech 
have  naturally  a  certain  degree  of  tension,  which  makes  the 
sound  more  definite  ;  but  in  unaccented  syllables  the  or- 
gans relax  their  tension,  the  oral  passage  is  therefore 
changed  in  shape,  and  the  vowel  is  correspondingly  mod- 
ified. 

The  following  table  indicates  the  tendencies  of  the  vowels 
when  unaccented,  or,  as  termed  by  Worcester,  obscure  :  — 


40  PHYSICAL    AND    VOCAL    TRAINING. 

Table  showing  the  Tendencies  cf  Vowels  when  Obscure. 

Eel  D" ;:.••••  'Ill 

""  £  Ell 


i  rn  IE*  • 

'   L-p 

Awe  tr  

\>  On 

1  lYl  n-5=    • 

[OrcJ 

.       T,f~\f   \± 

It  will  be  observed,  from  the  above  table,  that  vowels 
have  the  following  general  tendencies  when  unaccented  :  — 

1.  Long  vowels  tend  to  become  short. 

2.  The  upper  vowels  verge  toward  I  (short  i). 

3.  The  middle  vowels  verge  toward  u  (short  u), 

4.  The  lower  vowels  verge  toward  6t>  (as  in  foot). 

Dictionaries  usually  leave  unaccented  syllables  unmarked ;  and 
it  is  often  difficult  to  determine  the  quality  of  an  obscure  vowel. 
The  following  rules  will  aid  in  doubtful  cases :  — 

1.  A,  t,  or  y  ending  an  unaccented  syllable  is  generally  short 
obscure,  as  in  the  words,  a-bound,  capa-ble,  di-rect,  py-ri'tes. 

Exception.  —  These  vowels  are  long  when  they  directly  pre- 
cede an  accented  vowel,  as  in  a-e'rial,  di-am'eter,  h^-e'na. 

2.  E,  o,  or  «,  ending  an  unaccented  syllable,  is  generally  long 
obscure,  as  in  «-vent,  mo-lest,  cw-taneous. 

3.  In  cases  where  the  preceding  rules  will  not  apply,  place  the 
accent  on  the  doubtful  syllable  to  determine  its  sound;  thus, 
change  lag'gard  to  laggard',  and  it  will  readily  be  perceived  that 
the  sound  in  the  last  syllable  is  that  of  the  fourth  long  vowel. 
Then  by  noticing  the  index  leading  from  it  in  the  table  above, 
\ve  see  that  this  sound  when  obscure  tends  toward  ti  (short  u). 

The  article  a  has  always  the  sound  of  the  third  short  vowel 
pbscure,  approaching  the  fifth  short  vowel,  u. 

The  article  the  is  pronounced  tM  before  a  vowel,  and  thu 
(vowel  verv  obscure)  before  a  consonant. 


VOWEL   ANALYSIS.  41 

III.    Long  Vowels  in  Words. 

1.  First  Long  Voicel. —  Eve,  see,  key,  field,  people,  pier,  fa- 
tigue, quay,  machine,  camphene. 

Obscure,  tending  toward  i.  —  Before,  event,  elegant,  petition, 
society,  enemy,  coffee,  serene. 

2.  Second  Long  Vowel.  —  Aim,  lake,   vein,   day,  label,   obey, 
celebrate,  fermentation. 

Obscure,  tending  toward  1.  —  Sunday,  Monday,  fountain,  vil- 
lage, orange,  cabbage,  chocolate,  average,  —  delicate  intricate. 

3.  Third  Long  Voicel.  —  Air,  pair,  there,  prayer,  careful,  parent 
Obscure,  tending  slightly  toward  u.  —  Parental,  preparation, 

declaration. 

4.  Fourth  Long  Vowel.  —  Arm,   far,   cart,   daunt,   laugh,   half, 
calf,  father,  aunt,  guard. 

Obscure,  tending  toward  u.  —  Dollar,  pillar,  scholar,  laggard, 
nectar,  particular,  liar,  poniard. 

5.  Fifth  Long  Vowel.  —  Urn,  word,  sir,  furnish,  journey,  con- 
firm, disperse,  mirth. 

Obscure,  same  sound  shortened.  —  Termination,  certificate,  con- 
firmation. 

6.  Sixth  Long  Vowel.  —  All,  saw,  lawful,  sauce,  taught,  halter, 
false,  also,  always,  bought,  talk. 

Unaccented,  same   sound   shortened.  —  Audacity,  Pawtucket, 
causality,  auricular. 

7.  Seventh  Long  Vowel.  —  Old,  foe,  beau,  tone,  yeoman,  sew, 
cone,  hope,  holy,  disown,  most,  only. 

Obscure,  tending  toward  6.  —  Potato,  crocodile,  tobacco,  origi- 
nal, philosophy,  apposite. 

8.  Eighth  Long  Vowel.  —  Ooze,  who,  pool,  group,  rude,  pru- 
dent, canoe,  rheum,  manoeuvre,  recruit. 

Obscure,  tending  toward    ob.  —  Prudential,  rheumatic,   erudi- 
tion, brutality,  together. 


42  PHYSICAL   AND    VOCAL    TRAINING. 

IV.    Short  Vowels  in  Words. 

1.  First  Short  Vowel.  —  It,  tip,  prince,  mystery,  been,  busy. 
Unaccented,   the  same  sound.  —  Indivisibility,   historical,  mi- 
nutely, outfit,  discreet,  charity,  impossible. 

2.  Second  Short  Vowel.  —  Elk,  let,  bread,  measure,  steady,  leop- 
ard, bury,  said. 

Unaccented,  tending  slightly  toward  i.  —  Boxes,  duel,  helmet, 
riches,  wicked. 

3.  Third  Short  Vowel.  —  Am,  sack,  tan,  carry,  plaid,  accident, 
alternate,  battle. 

Obscure,  tending  toward  u.  —  .4bode,  abash,  capable,  errand, 
balloon,  orphan,  dismal,  capacious,  comfortable,  agreeable. 

4.  Fourth  Short  Vowel.  —  Ask,  past,  grass,  lance,  staff,  chant, 
gasp,  chance. 

Obscure,  tending  toward  ii.  —  Idea,  sofa,  comma,  Cuba,  Amer- 
ica, fragrance,  breakfast,  compass,  windlass. 

5.  Fifth  Short  Vowel.  —  Up,  much,  bulge,  blood,  touch,  does. 
Unaccented,  not  changed  in  quality.  —  £7ndo,  unseal,  con'duct. 

6.  Sixth  Short  Vowel.  —  Odd,  mob,  dot,  foster,  forest,  wander, 
knowledge. 

Obscure,  tending  toward  u.  —  Labor,  error,  orator,  carrot,  mam- 
moth, commend,  cassock,  camphor. 

7.  Seventh  Short  Vowel.  —  Gore,  glory,  story,  wholly. 
Obscure,  tending  toward  u.  —  Territory,  acrimony,  matrimony, 

parsimony,  promissory,  promontory. 

8.  Eighth  Short  Vowel.  —  Foot,  bush,  wolf,  should,  cushion. 
Obscure,  not  changed  in  quality.  —  Mournful,  ambush,  hurrah. 

V.    Diphthongs  in  Words, 

1.  First  Diphthong.  —  Useful,  few,  pew,  new,  fume,  student, 
mew,  stupid,  beauty,  duty,  cue,  review,  importune,  opportunity, 
mutual,  institution,  constitution,  fluid,  consume,  lunar. 

Obscure,  same  sound  shortened.  —  Figure,  injure,  creature, 
nature,  literature,  pleasurable,  verdure,  usual. 


ARTICULATION.  43 

2.  Second  Diphthong.  —  Ice,  right,  glide,  smile,  concise. 
Unaccented,    not   changed    in    quality.  —  Diameter,    diagonal, 

triennial,  infantile,  reconcile,  crystalline. 

3.  Third    Diphthong.  —  Out,    now,    loud,     confound,    mouth, 
hourly. 

Unaccented,  not  changed  in  quality.  —  Foundation,  com'pownd. 

4.  Fourth  Diphthong.  —  Oil,  boil,  toy,  hoist,  appoint,  recoil. 
Unaccented,  not   changed   in  .quality.  —  Tenderloin,  asteroid, 

parboil. 

VI.    General  Exercise  in  Vowel  Analysis. 

Copy  the  Vowel  Table  upon  the  blackboard.  Then  take  any 
sentence  from  the  reading-book  and  practise  thus  :  The  teacher 
calls  a  word  or  single  syllable,  the  class  repeats  the  vowel  sound 
in  that  syllable,  and  a  scholar  at  the  board  indicates  it  in  the 
table.  Use  monosyllables  at  first;  and  practise  only  accented 
vowels  till  the  scholars  have  learned  them  accurately. 


CHAPTER    IX. 

ARTICULATION. 

ARTICULATION  is  effected  by  the  action  of  the  lips,  tongue, 
palate,  and  jaws.  In  order  that  articulation  may  be  perfect, 
there  must  be  a  prompt,  neat,  and  easy  action  of  these 
organs.  When  they  move  feebly  or  clumsily,  the  articula- 
tion is  indistinct  or  mumbling.  An  elastic  play  of  the 
muscles  of  the  mouth  is  necessary,  not  only  for  distinctness 
of  utterance,  but  for  the  expressiveness  of  the  face. 

The  following  exercises  will  aid  to  discipline  the  muscles 
used  in  articulation,  and  accustom  them  to  energetic  action. 
After  a  vigorous  tone  has  been  given  to  these  muscles,  their 
movements  in  utterance  must  not  be  excessive,  or  too  ap- 
parent to  the  eye. 


44 


PHYSICAL   AND    VOCAL   TRAINING. 


I.    For  the  Lips  and  Jams. 

First.  Pronounce  the  vowel  2,  extending  the  lips  as 
much  as  possible  sidewise,  and  showing  the  tips  of  the 
teeth. 

Second.  Pronounce  ah,  dropping  the  jaw  and  opening 
the  mouth  to  its  widest  extent. 

Third.     Pronounce  oo  (as  in  cool),  contracting  the  lips. 

Then,  the  teacher  having  drawn  upon  the  blackboard  a 


ARTICULATION.  45 

triangle  with  the  three  sounds  indicated  at  the  angles,  let 
him  pass  the  "  pointer  "  around  in  a  circle,  touching  at  the 
angles,  and  require  the  pupils  to  utter  the  vowels,  as  he  in- 
dicates them,  in  rapid  succession,  continuously,  that  is, 
without  pausing  between  them.  Hewing  gone  round  three 
01  four  times  in  one  direction,  make  a  signal  for  the  pupils 


AH 


to  stop ;  then  taking  a  fresh  breath,  go  round  the  opposite 
way.  So  take  each  of  the  other  angles  as  a  starting-point, 
and  go  round  both  ways.  We  shall  thus  have  repetitions 
of  each  of  the  following  :  E-ah-oo  ;  e-oo-ah  ;  ah-e-oo  ;  ah-oo-e; 
oo-ah-e  ;  oo-e-ah. 

II.    for  the  Lips  and  Tongue. 

The  same  exercise  may  be  practised  without  moving  the 
jaw.  Set  the  teeth  at  a  fixed  distance  apart,  —  say  the 
width  of  two  fingers,  — -  then  form  the  above-named  vowels 
exclusively  by  the  action  of  the  tongue  and  lips. 

The  position  of  the  jaw  may  be  rendered  certain,  if  need- 
ful, by  setting  a  short  stick  or  bit  of  card  between  the  front 
teeth. 


46 


PHYSICAL    AND    VOCAL    TRAINING. 


III.    For  the  Jaw. 

Whisper  alternately  the  sounds  e,  ah;  allowing  the  jaw, 
in  the  latter  sound,  to  drop  as  it  were  with  its  own  weight. 
The  action  of  the  jaw  must  not  be  rigid,  but  loose  and 
free. 

IV.    For  the  Lips,  Tongue,  and  Palate. 

First.  Pronounce  the  syllable  ip,  bring 
ing  the  lips  in  contact  and  separating 
them  with  a  smart,  percussive  recoil. 

Second.    Pronounce  the  syllable  it.    The 
tip  of  the   tongue   touches   against   the 
upper  teeth,  and  promptly  recoils. 

Third.  Pronounce  the  syllable  iJc.  The  back  of  the 
tongue  shuts  against  the  soft  palate,  and  promptly  recoils. 

Pass  from  point  to  point  in  both  directions,  as  in  Exer- 
cise I. 

Then  practise  the  same,  omitting  the  vowel  sound,  and 
producing  only  the  slight  puff  of  recoil  indicated  by  the 
consonant. 

The  consonants  b,  d,  g  may  afterwards  be  practised  in  a 
similar  manner. 

V.    Consonants  in  the  Order  of  their  Formation. 


ASPIRATES. 


SUB-VOOALS. 


P      pay,  ape. 

B     bat,  cab. 

rrr-t          7 

•TTrr       _-,.._ 

w  n  tofty,  . 

F     /ed,  dea/ 

V    weal,  lea»e. 

Th    thin,  myth. 

Th  this,  with. 

S      sell,  less. 

Z    zone,  nose. 

T      tide,  ligh*. 

D    rfay,  aid. 

L    fet,  fetf. 

Rrr\V\ 

roil,  — 

Sh  shed,  fiesh. 

Zh  azure,  rouge. 

TT       AQTT 

V    »«>t. 

LIQUIDS. 

Nasals. 

M 


mar,  aim 


X     no,  own. 


K    £eep,  weak.       G    gum.  mug. 


ARTICULATION. 


47 


Observe  in  the  above  table  the  following  points,  and  test 
them  by  practice  :  — 

1.  All  the  letters  in  the  left-hand  column  are  aspirates, 
or  whispered  consonants. 

2.  Those   in   the   other  columns  are  sub-vocals,  or  voice 
consonants. 

3.  Those  in  the  third  and  fourth  columns  are  liquids,  or 
consonants  whose  sounds  can  be  indefinitely  prolonged. 

4.  Those  in  the  fourth  column  are  nasals,  or  consonants 
in  which  the  vocal  current  issues  through  the  nose. 

5.  In  practising  any  vertical  column  from  above  down- 
ward, the  point  of  contact  of  the  organs  is  first  at  the  lips, 
and  moves  farther  back  with  each  successive  consonant. 

6.  In  practising  any  column  upward,  the  point  of  contact 
of  the  organs  is  first  at  the  back  of  the  mouth,  and  moves 
gradually  forward  to  the  lips. 

7.  Consonants  in  the  same  horizontal  line  are  formed 
with  the  same  position  of  the  organs. 

VI.    Initial  Consonant  Combinations. 
bw   as  in  buoy  gl      as  in  glass        si       as  in  slave 


by    « 

u 

beauty 

gr      " 

"    great 

sm 

u 

" 

smile 

bl  •    " 

n 

blade 

kw    " 

"    queen 

sn 

it 

" 

snow 

br      " 

tt 

bride 

ky     " 

"    cue 

sf 

it 

tt 

sphere 

py    " 

it 

pew 

kl      " 

"    cleave 

sp 

it 

" 

spire 

pi      " 

it 

place 

kr      " 

"    crime 

st 

u 

it 

steam 

pr      " 

tt 

price 

my    " 

"    muse 

sk 

n 

11 

sky 

dy      " 

u 

dew 

ny     " 

"    neuter 

spl 

u 

u 

spleen 

dw    •" 

u 

dwarf 

fy          « 

"    few 

spr 

tt 

u 

spring 

dr      » 

" 

draw 

fl       " 

"    flight 

spy 

tt 

it 

spume 

dzh    " 

" 

jew 

fr      " 

"    fright 

str 

ti 

ti 

straw 

ty      " 

11 

tune 

vy    " 

"    view 

sty 

n 

n 

stew 

tw     " 

11 

twelve 

thw  " 

"    thwart 

skr 

" 

n 

scream 

tr       « 

11 

try 

thy   " 

"    thew 

skw 

u 

it 

squint 

tsh    " 

11 

chair 

thr    " 

"    three 

sky 

it 

ti 

skew 

gw    « 

tt 

guelph 

sw     " 

"    sway 

shr 

11 

" 

shrine 

gy    " 

" 

gewgaw 

sy     " 

"    sue 

48  PHYSICAL   AND   VOCAL   TRAINING. 

VII.    Terminal  Combinations. 
1.  Liquid  and  Single  Aspirate. 
Help,  elf,  health,  else,  felt,  Welsh,  milk; 
lamp,  nymph,  dreamt; 
ninth,  dance,  tent,  —  strength,  ink ; 
sharp,  turf,  earth,  purse,  heart,  harsh,  hark. 

2.  Double  Aspirates, 
depth,  steps,  apt; 
fifth,  fifes,  left; 
broths  ; 

wasp,  post,  task; 
looks,  act. 

3.  Liquid  and  Double  Aspirates. 
Alps,  gulped,  gulfs,  twelfth,  ingulfed; 
lamps,  stamped,  triumphs,  tempts; 
tenths,  against,  prints,  —  lengths,  ring'st ; 
harps,  warped,  serfs,  earth's,  first,  carts,  march. 

4.   Triple  Aspirates. 

Depths,  droop1  st,  adepts;  fifths,  \aughst,  rafts; 
lookst,  facts ; 
asps,  posts,  desks: 
satst,  patched; 
look'st,  acts. 

5.  Liquid  and  Triple  Aspirates. 
TLelp'si,  twelfths,  milk'st,  halt'st,  filched ; 
limp'st,  attemptst; 

wanfst,  flinched,  —  precincts,  thinkst ; 
warp'st,  dwarfst,  emhark'st,  bursts,  hurtst,  arch'd,  work  si, 

6.  Quadruple  Aspirates. 
Sixths ; 
texts. 

7.  Liquid  and  Single  Sub-vocal. 
~Bulb,  delve,  ells,  old; 
rhomb,  gems,  famed; 


ARTICULATION.  49 


lens,  end,  —  songs,  hanged; 
orb,  nerve,  bars,  con/,  iceberg; 
prism,  froz'n. 

8.  Double  Liquid*. 
~Elm,  stolen, 

arm,  morn,  cur?. 

9.  Double  Sub-vocals. 
Webs,  probed  ; 

caves,  saved,  bathes,  breathed, 


buds,  lodge; 
logs,  begged. 

10.  Double  Liquids  and  Double  Aspirates, 
Overwhelm'  st,  charm'st,  scorn'st. 

11.  Liquid  and  Double  Sub-vocals. 

Bulbs,  bulbed;  wolves,  involved;  folds,  bilge; 

hinge,  lands; 

orbs,  curbed,  birds,  icebergs. 

12.  Double  Liquids  and  Single  Sub-vocal. 
Elms,  overwhelmed; 
curls,  arms,  formed,  herns,  burned. 

13.  Double  Liquids  and  Double  Sub-vocals. 
Worlds. 

14.  Double  Liquids  and  Double  Aspirates. 
X  scorn's^. 


15.   Triple  Sub-  vocals. 
Wedged. 

16.  Liquid  and  Triple  Sub-vocals. 

Bulged,  changed,  urged. 


50  PHYSICAL   AND    VOCAL    TRAINING. 

MIXED  ARTICULATIONS. 

17.  Liquids  and  Aspirates. 

Stifl'st,  sparkl'st ; 
soften,  token,  waken'st. 

18.  Sub-vocals  and  Aspirates. 

Robb'st,  amidst,  width,  digg'st,  rav'st,  writh'st; 
prob'dst,  hundredths,  begg'dst,  catch'dst. 

19.  Liquids,  Sub-vocals,  and  Aspirates. 

Hobbles,  baffled,  rifles,  dazzl'd,  kindles,  sparkl'd,  mingl'd, 
rattl'd,  titles,  twinkles,  scruples; 

troubl'st,  trifl'st,  shov'lst,  kindl'st,  struggl'st,  puzzl'st,  trampl'st, 
shieldst,  revolv'st; 

help'dst,  trembl'dst,  trifl'dst,  shov'ldst,  trampl'dst,  involv'dst, 
kindl'dst,  mingl'dst,  twinkl'dst,  fondl'dst,  dazzl'dst,  rattl'dst; 

stifF'ns,  deaf  n'd,  wak'ns,  wak'n'd,  macld'n'd,  whit'ns,  rip'n'd, 
opens ; 

sendst,  wak'n'dst,  madd'n'dst,  lighten'dst,  ripen'dst,  heark- 
en'dst,  doom'dst; 

absorbst,  regard'st,  curb'dst,  hurl'dst,  charm'dst,  return'dst, 
starv'dst ; 

strengthens,  strength'n'd,  wrong'dst,  lengthen'dst 

20.  Combinations  in  which  the  same  Articulation  occurs  twice. 

Act'st,  lift'st,  melt'st,  hurt'st,  want'st,  shout'st,  touch'd,  parch'd, 
help'dst,  bark'dst,  prompt'st,  touch'dst.  rattl'st ; 

bursts,  tasks,  grasps,  mists,  bask'st,  lessenst,  nestl'st,  puzzles, 
enlist'st. 


SLIDES   OR  INFLECTIONS.  51 


CHAPTER     X. 

SLIDES    OR    INFLECTIONS. 

ONE  of  the  essential  distinctions  between  song  and  speech 
is  this  :  in  the  former,  a  given  tone  is  on  the  same  level  of 
pitch  through  its  whole  extent,  arid  the  progression  from 
note  to  note  is  made  by  distinct  steps  ;  in  the  latter,  the 
voice  is  continually  sliding  upward  and  downward  on  the 
vowel  sounds. 

In  asking  a  direct  question  the  voice  glides  from  low  to 
high,  and  in  the  answer  it  slides  downward.  Thus,  one 
asks  another  at  a  distance  what  he  wants,  —  "  The  ball  ] " 
"  N6  !  the  knife."  The  movement  of  the  voice  on  the  word 
"  ball  "  is  a  rising  slide  or  inflection ;  that  upon  "  no  "  and 
"  knife "  is  falling.  The  more  intense  the  question  and 
reply,  the  further  up  and  down  would  the  voice  run. 

In  sad  or  plaintive  utterance  the  slide  becomes  semitonic 
or  minor.  In  irony  or  in  double-meaning,  the  voice  waves 
upward  and  downward  on  the  same  sound,  producing  the 
circumflex  slide,  —  named  rising  or  falling,  according  as  the 
voice  moves  up  or  down  at  its  close. 

In  the  expression  of  awe  and  sublimity,  and  in  emotions 
implying  vastness  and  foi-ce,  the  voice  usually  has  a  level 
movement  from  note  to  note,  "  like  the  repeated  sounds  of  a 
deep-toned  bell."  This  intonation  in  speaking  is  termed  the 
monotone. 

Including  the  monotone,  we  have  therefore  the  following 
forms  of  inflection,  upon  which  the  pupil  should  be  drilled, 
with  vowels  and  words  :  — 


52  PHYSICAL   AND    VOCAL   TRAINING. 

1.  Common  or  major  slides,  — rising  and  falling. 

2.  Semitonic  or  minor  slides,  —  rising  and  falling. 

3.  Circumflex  slides,  —  rising  and  falling. 

4.  Monotone. 

The   following   exercises   will    practically   illustrate   the 
various  slides  or  inflections  :  — 


I.    Falling  Slides. 

1.  Rouse  thee  up !    0  waste  not  life  in  fond  delusions ! 
Be  a  soldier,  —  be  a  hero,  —  be  a  man ! 

2.  "Halt!"    The  dust-brown  ranks  stood  f^st. 
"  Fire !  "    Out  blazed  the  rifle  blast. 

3.  Freedom  calls  you !  quick,  be  ready, 

Think  of  what  your  sires  have  done ; 
Onward,  onward  !  strong  and  steady,  — 
Drive  the  tyrant  to  his  den  ; 

On,  and  let  the  watchword  be, 

Country,  home,  and  liberty. 


II.    Rising  Slide*. 

1.  May  I  stay  here  ?  —  I  have  no  objection.     You  may  if  you 
Ifke. 


2.  Is   this   the  part  of  wise  men,   engaged  in   a   great   and 
arduous  struggle  for  liberty?     Are  we  disposed  to   be  of  the 
number  of  those,   who,  having  eyes,   see  not,  and  having  ears, 
hear  not,  the  things  which   so   nearly  concern  their  temporal 
salvation  ? 

3.  Is  not  the  consciousness  of  doing  g6od  a  sufficient  re- 
ward? 


SLIDES    OR    INFLECTIONS.  53 

III.    Rising  and  Falling  Slides. 

1.  Sink  or  swim,  Ifve  or  die,  survive  or  parish,  I  give  my 
h£nd  and  my  heart  to  this  vote. 

2.  Prince  Henry.     What 's  the  matter  ? 

Falstaff.     What 's  the  matter  ?     Here  be  four  of  us  have 
taken  a  thousand  pounds  this  morning. 

Prince  Henry.     Where  is  it,  Jack,  where  is  it  ? 
Falstaff.     Where  fs  it  ?     Taken  fr6m  us,  it  is. 

3.  They  tell  us,  sir,  that  we  are  w£ak,  —  unable  to  cope  with 
so  formidable  an  adversary.     But  when  shall  we  be  stronger  ? 
Will  it  be  the  next  week,  or  the  next  year  ?     Will  it  be  when 
we  are  totally  disarmed ;  and  when  a  British  guard  shall  be  sta- 
tioned in  every  house  ?   Shall  we  gather  strength  by  irresolution 
and  inaction  ?   Shall  we  acquire  the  means  of  effectual  resistance 
by  lying  supinely  on  our  backs,  and  hugging  the  delusive  phan- 
tom of  hope,  until  our  enemy  shall  have  bound  us  hand  and 
foot  ?  —  Sir,  we  are  not  weak,  if  we  make  a  proper  use  of  those 
means  which  the  God  of  nature  hath  placed  in  our  power. 

IV.  Minor  Rising  Slides. 

1.  Give  me  three  grains  of  corn,  mother, 
Only  three  grains  of  c6rn. 

2.  Oh  !   p&rdon  me,  thou  bleeding  piece  of  earth, 
That  I  am  meek  and  gentle  with  these  —  butchers. 

3.  0  my  lord, 

Must  I  then  leave  you  ?   must  I  needs  forego 
So  good,  so  noble,  and  so  true  a  master  ? 

V.  Minor  Falling  Slides. 

1.  0,  save  me,  Hubert,  save  me  I    My  eyes  are  out 
Even  with  the  fierce  looks  of  the  bloody  men. 


54  PHYSICAL   AND    VOCAL    TRAINING. 

2.  Ay,  and  that  tongue  of  his,  that  bade  the  Romans 
Mark  him,  and  write  his  speeches  in  their  books, 
Alas !  it  cried  —  give  me  some  drink,  Titinius  — 
As  a  sick  girl. 

3.  Come  nearer  to  my  side,  mother, 

Come  nearer  to  my  side, 
And  hold  me  fondly,  as  you  held 
My  father  when  he  died. 


VI.    Rising  Circumflex. 

1.  It  is  vastly  easy  for  you,  Mistress  Dial,  who  have  always, 
as  everybody  knows,  set  yourself  up  above  me,  —  it  is  vastly 
easy  for  you,  I  say,  to  accuse  other  people  of  laziness. 

2.  Do !    I  tell  you.  I  rather  guess 

She  was  a  wonder,  and  nothing  less ! 

3.  The  common  error  is  to  resolve  to  act  right  after  breakfast, 
or  after  dinner,  or  to-morrow  morning,  or  next  time :  but  now, 
just  now,  this  once,  we  must  go  on  the  same  as  ever. 


VII.    Falling  Circumflex. 

1.  Oh !  but  you  regretted  the  partition  of  Poland !    Tea,  re- 
gretted !  —  you  regretted  the  violence,  and  that  is  all  you  did. 

2.  Talleyrand,  being  pestered  with  questions  by  a  squinting 
man,  concerning  his  broken  leg,  replied,  "  It  is  quite  crooked  — 
as  you  see." 

3.  None  dared  withstand  him  to  his  face, 
But  one  sly  maiden  spake  aside : 
"  The  little  witch  is  evil  eyed ! 
Her  mother  only  killed  a  cow, 
Or  witched  a  churn  or  dairy-pan ; 
But  she,  forsooth,  must  charm  a  man !  " 


SLIDES   OR  INFLECTIONS.  55 

VIII.    Rising  and  Falling  Circumflexes. 

1.  If  you  said  so,  then  I  said  so.     0  ho!    did  you  say  so?    So 
they  shook  hands  and  were  sworn  brothers. 

2.  Now,  in  building  of  chaises,  I  tell  you  what, 
There  is  always  somewhere  a  weakest  spot; 
And  that 's  the  reason,  beyond  a  doubt, 
A  chaise  breaks  down,  but  does  n't  wear  out. 

3.  He,  I  warrant  him, 

Believed  in  no  other  gods  than  those  of  the  creed ; 
Bowed  to  no  idols  —  but  his  money-bags ; 
Swore  no  false  oaths  —  except  at  the  custom-house ; 
Kept  the  Sabbath — idle;  built  a  monument 
To  honor  his  —  dead  father. 


IX.    Monotone. 

1.  Holy !  holy !  holy !    Lord  God  of  Sabaoth ! 

2.  The  cloud-capped  towers,  the  gorgeous  palaces, 
The  solemn  temples,  the  great  globe  itself,  — 
Yea,  all  which  it  inherit,  shall  dissolve, 

And,  like  this  unsubstantial  pageant,  faded, — 
Leave  not  a  rack  behind. 

3.  In  all  time, 

Calm  or  convulsed,  —  in  breeze,  or  gale,  or  storm,  — 
Icing  the  pole,  or  in  the  torrid  clime 
Dark  heaving ;  —  boundless,  endless,  and  sublime,  - 
The  image  of  Eternity,  —  the  throne 

Of  the  Invisible ;  —  .... 
....  thou  goest  forth,  dread,  fathomless,  alone. 


56  PHYSICAL   AND   VOCAL   TRAINING. 


CHAPTER    XI. 

QUALITY     OF    VOICE. 

THIS  chapter  may  be  considered  supplementary  to  that 
on  the  Production  of  Tone ;  and,  if  preferred,  may  be  prac- 
tised in  connection  with  that.  Examples  are  given  of  the 
application  of  the  different  qualities  of  voice,  —  including 
the  whisper,  —  which  are  used  in  ordinary  reading.  These 
are  all  that  are  needed  by  the  pupil,  except  for  some  forms 
of  personation  and  dramatic  representation,  which  would  re- 
quire certain  faulty  qualities  not  tending  to  improve  the  voice. 

Good  taste  will  guide  the  application  of  the  various  vocal 
qualities ;  but  the  following  general  principles  may  be  laid 
down  :  — 

1.  Pure  tone  is  used  in  unimpassioned  discourse ;  in  the 
expression  of  light  and  agreeable  emotions  ;  and  in  sadness 
or  grief  when  not  mingled  with  solemnity. 

2.  Orotund  is  used  to  express  whatever  is  grand,  vast,  or 
sublime. 

3.  Aspirated  quality  expresses  secrecy,  fear,  darkness,  or 
moral  impurity. 

4.  The  Whisper  has  expressive  power  similar  to  that  of 
the  aspirated  quality  of  voice.      It  is  seldom  employed  in 
reading  or  speaking ;  but  should  be  practised  as  an  exercise 
to  strengthen  the  organs  of  speech. 

I.    Whispering. 

1.  "  Is  all  prepared  ?  —  speak  soft  and  low." 
"  All  ready  !  we  have  sent  the  meu, 
As  you  appointed,  to  the  place." 


QUALITY    OP    VOICE.  57 

2.  All  silent  they  went,  for  the  time  was  approaching, 
The  moon  the  blue  zenith  already  was  touching ; 
No  foot  was  abroad  on  the  forest  or  hill, 
No  sound  but  the  lullaby  sung  by  the  rill. 

3.  Hark !  I  hear  the  bugles  of  the  enemy !  They  are  on 
their  march  along  the  bank  of  the  river.  We  must  retreat  in- 
stantly, or  be  cut  off  from  our  boats.  I  see  the  head  of  their 
column  already  rising  over  the  height.  Our  only  safety  is  in  the 
screen  of  this  hedge.  Keep  close  to  it ;  be  silent ;  and  stoop  as 
you  run.  For  the  boats  !  Forward  ! 


II.    Half -Whisper,  or  Aspirated  Tone. 

1.  And  the  bride-maidens  whispered,  "  'T  were  better,  by  far, 
To  have  matched  our  fair  cousin  with  young  Lochinvar." 

2.  "  Silence  !  "  in  undertones  they  cry, 

"  No  whisper  !  —  not  a  breath  ! 
The  sound  that  warns  thy  comrades  nigh 
Shall  sentence  thee  to  death." 

3.  And  once  behind  a  rick  of  barley, 
Thus  looking  out  did  Harry  stand ; 
The  moon  was  full,  and  shining  clearly, 
And  crisp  with  frost  the  stubble  land.  — 
He  hears  a  noise  —  he 's  all  awake  — 
Again  !    On  tip-toe  down  the  hill 

He  softly  creeps. 


III.    Pure  Tone. 

Oh,  young  Lochinvar  is  come  out  of  the  west,  — 
Through  all  the  wide  border  his  steed  was  the  best ; 
And  save  his  good  broadsword  he  weapon  had  none,  — 
He  rode  all  unarmed,  and  he  rode  all  alone. 
So  faithful  in  love,  and  so  dauntless  in  war, 
There  never  was  knight  like  the  young  Lochinvar. 
3* 


58  PHYSICAL   AND   VOCAL   TRAINING. 

2.  How  sweet  the  moonlight  sleeps  upon  this  bank ; 
Here  will  we  sit,  and  let  the  sounds  of  music 
Creep  in  our  ears  ;  soft  stillness  and  the  night 
Become  the  touches  of  sweet  harmony. 

3.  The  splendor  falls  on  castle  walls, 

And  snowy  summits  old  in  story  ; 
The  long  light  shakes  across  the  lakes, 
And  the  wild  cataract  leaps  in  glory. 


IV.    Orotund. 

1.  0  thou  that  rollest  above,  round  as  the  shield  of  my  fathers ! 
whence  are  thy  beams,  O  Sun !  thy  everlasting  light  ? 

2.  I  would  call  upon  all  the  true  sons  of  New  England  to  co- 
operate with  the  laws  of  man  and  the  justice  of  Heaven. 

3.  Rise,  like  a  cloud  of  incense,  from  the  earth ! 
Thou  kingly  spirit,  throned  among  the  hills, 
Thou  dread  ambassador  from  earth  to  heaven, 
Great  hierarch  !  tell  thou  the  silent  sky, 
And  tell  the  stars,  and  tell  yon  rising  sun, 
Earth,  with  her  thousand  voices,  praises  God. 


V.    Aspirated  Orotund, 

1.  Now  fades  the  glimmering  landscape  on  the  sight, 
And  all  the  air  a  solemn  stillness  holds. 

2.  The  tombs 

And  monumental  caves  of  death  look  cold, 
And  shoot  a  chillness  to  my  trembling  heart. 

3.  I  see  the  smoke  of  the  furnaces  where  manacles  and  fetters 
are  still  forged  for  human  limbs.  I  see  the  visages  of  those  who 
by  stealth  and  at  midnight  labor  in  this  work  of  hell,  foul  and 
dark,  as  may  become  the  artificers  of  such  instruments  of  misery 
and  torture. 


FORCE.  51) 


CHAPTEE   XII. 

FORCE. 

THE  voice  should  be  exercised  upon  the  vowels  in  all 
degrees  of  force,  from  the  gentlest  to  the  most  vehement. 
The  hint  is  here  repeated  that  the  loudest  tones  must  be 
made  in  such  a  manner  as  not  to  rasp  the  throat.  So  far 
from  producing  any  unpleasant  sensation,  the  right  kind  of 
practice  will  have  a  pleasant  and  exhilarating  effect. 

Seek  to  make  the  sounds  always  smooth  and  musical ; 
and  never  lose  sight  of  the  fact  that  what  is  wanted  in 
every-day  use  of  the  voice,  in  the  school-room  or  elsewhere, 
is  a  pleasant  and  natural  intonation.  The  practice  of  loud 
and  sustained  tones  is  an  excellent  means  of  improving  the 
voice ;  but  is  to  be  the  exception,  not  the  rule,  in  ordinary 
reading.  Still  less  should  a  shouting  tone  be  used  in  con- 
ducting a  recitation,  or  in  the  ordinary  discipline  of  a  class. 
Yet  the  softest  tone  must  be  elastic  and  full  of  life,  not  dull 
and  leaden. 

The  degree  of  force  required  in  reading  a  given  passage 
depends  upon  the  space  to  be  filled  by  the  reader's  voice  or 
the  distance  it  must  reach  ;  upon  the  number  of  persons 
presumed  to  be  addressed,  and  upon  the  emotion  expressed. 

I.    Gentle. 

1.  Flow,  softly  flow,  by  lawn  and  lea, 

A  rivulet,  then  a  river ; 
No  more  by  thee  my  steps  shall  be, 
Forever  and  forever. 


60  PHYSICAL    AND    VOCAL   TRAINING. 

2.  0  hark,  0  hear!  how  thin  and  clear, 

And  thinner,  clearer,  farther  going; 
O  sweet  and  far,  from  cliff  and  scar, 
The  horns  of  Elf-land  faintly  blowing. 

3.  Tread  lightly,  comrades !  —  we  have  laid 

His  dark  locks  on  his  brow  — 
Like  life  —  save  deeper  light  and  shade  — 
We  '11  not  disturb  them  now. 


II.    Modwate. 

1.  What  causes  first  in  English  halls  combined 

To  free  the  voice  ?  —  those  which  first  freed  the  mind. 

2.  The  longer  I  live,  the  more  I  am  certain  that  the  great  dif- 
ference between  men,  between  the  feeble  and  the  powerful,  the 
great  and  the  insignificant,  is  energy,  invincible  determination. 

3.  Listen,  my  children,  and  you  shall  hear 
Of  the  midnight  ride  of  Paul  Revere. 


III.    Loud. 

1.  The  war,  then,  must  go  on.  We  must  fight  it  through. 
And  since  the  war  must  go  on,  why  put  off  longer  the  Declara- 
tion of  Independence  ? 

2.  "  Victoria  !  "  sounds  the  trumpet, 

"  Victoria !  "  all  around ; 

"Victoria!  "  like  loud  thunder 

It  runs  along  the  ground. 

3.  Who  is  the  man  that,  in  addition  to  the  disgraces  and 
mischiefs  of  the  war,  has  dared  to  authorize  and  associate  to  our 
arms  the  tomahawk  and  scalping-knife  of  the  savage  ?  —  to  call 
into  civilized  alliance  the  wild  and  inhuman  inhabitant  of  the 
woods? — to  delegate  to  the  merciless  Indian  the  defence  of  dis- 


PITCH,   OR  MODULATION.  61 

puted  rights,  and  to  wage  the  horrors  of  his  barbarous  war 
against  our  brethren?  My  lords,  we  are  called  upon  as  mem- 
bers of  this  house,  as  men,  as  Christians,  to  protest  against  euch 
horrible  barbarity ! 

IV.    Very  Loud. 

1.    UP  DRAWBRIDGE  !   GROOM  !    What,  WARDER,  HO ! 
Let  the  PORTC&LLIS  FALL  ! 

2.  Ye  guards  of  liberty, 

I  'm  with  you  once  again.     I  call  to  you 
With  all  my  voice. 

3.  From  every  hill,  by  every  sea, 

In  shouts  proclaim  the  great  decree, 
"All  chains  are  burst,  all  men  are  freel  " 
Hurrah,  hurrah,  hurrah ! 


CHAPTEE    XIII. 

PITCH,     OR    MODULATION. 

ONE  of  the  commonest  faults,  in  school  reading  and  in 
the  delivery  of  many  public  speakers,  is  a  dull  monotony  of 
tone.  This  sameness  is  still  more  disagreeable  to  the  ear 
when  the  voice  is*kept  strained  upon  a  high  key.  Not  less 
unpleasant  is  an  incessant  repetition  of  the  same  cant  or 
sing-song.  Elocutionary  rules  will  do  little  or  nothing  to- 
ward removing  these  faults.  Faithful  drill  is  needed,  iinder 
the  guidance  of  good  taste  and  a  correct  musical  ear.  To 
this  must  be  added  an  appreciation  of  the  sentiment  of  the 
piece  at  the  moment  of  utterance. 

When  the  organs  have  been  trained  to  freedom  and  facil- 


62  PHYSICAL   AND   VOCAL   TRAINING. 

ity  in  all  degrees  of  the  musical  scale,  the  pupil  will  find  it 
easy  to  modulate  his  voice  in  reading.  Vowels,  words,  and 
sentences  should  be  practised  with  high,  middle,  and  low 
pitch.  Having  these  tones  at  his  command,  the  expressive 
reader  will  vary  the  pitch  with  every  shade  of  thought  or 
emotion;  so  that  a  foreigner  who  did  not  understand  a  word 
might  listen  with  pleasure  to  the  play  of  intonation.  Next 
to  sweetness  of  voice  a  proper  melody  of  delivery  has  the 
greatest  charm  to  the  hearer. 

One  who  has  made  his  voice  flexible,  and  is  alive  to  the 
meaning  of  what  he  reads,  will  hardly  need  the  following  prin- 
ciples to  guide  him,  for  he  will  instinctively  observe  them  :  — 

1.  A  middle  pitch  is  used  in  unemotional  passages. 

2.  A  high  pitch   is   used  in  light  and  joyous  emotions, 
and  in  the  extremes  of  pain,  grief,  and  fear. 

3.  The  pitch  descends  in  proportion  to  the  seriousness  or 
solemnity  of  a  passage. 

I.    High. 

1.  Ring  out  the  old,  ring  in  the  new, 

Ring,  happy  bells,  across  the  snow ; 
The  year  is  going,  let  him  go ; 
Ring  out  the  false,  ring  in  the  true. 

2.  You  must  wake  and  call  me  early,   call  me  early,   mother 

dear; 

To-morrow  '11  be  the  happiest  time  of  all  the  glad  New-Year ; 
Of  all  the  glad  New-Year,  mother,  the  maddest  merriest  day ; 
For  I  'm  to  be  Queen  o'  the  May,  mother,  I  'm  to  be  Queen 

o'  the  May. 

3.  Cry  Holiday !  Holiday !  let  us  be  gay. 

And  share  in  the  rapture  of  heaven  and  earth; 
For,  see !  what  a  sunshiny  joy  they  display, 

To  welcome  the  Spring  on  the  day  of  her  birth ; 
While  the  elements,  gladly  outpouring  their  voice, 
Nature's  paean  proclaim,  and  in  chorus  rejoice ! 


PITCH,    OR   MODULATION.  63 

II.    Middle. 

1.  An  old  clock,  that  had  stood  for  fifty  years  in  a  farmer's 
kitchen  without  giving  its  owner  any  cause  of  complaint,  early 
one  summer's  morning,  before  the  family  was  stirring,  suddenly 
stopped. 

2.  A  blind  man  would  know  that  one  was  a  gentleman  and 
the  other  a  clown,  by  the  tones  of  their  voices. 

3.  The  very  law  which  moulds  a  tear, 

And  bids  it  trickle  from  its  source, 
That  law  preserves  the  earth  a  sphere, 
And  guides  the  planets  in  their  course. 


III.    Low. 

1.  But,  whatever  may  be  our  fate,  be  assured,  be  assured  that 
this  declaration  will  stand.  It  may  cost  treasure,  and  it  may 
cost  blood ;  but  it  will  stand,  and  it  will  richly  compensate  for 
both. 

2.  When  all  thy  mercies,  0  my  God, 

My  rising  soul  surveys, 
Transported  with  th'e  view,  I  'm  lost 
In  wonder,  love,  and  praise. 

3.  It  thunders  !    Sons  of  dust,  in  reverence  bow  ! 

Ancient  of  days !  thou  speakest  from  above  : 
Thy  right  hand  wields  the  bolt  of  terror  now  ; 

That  hand  which  scatters  peace,  and  joy,  and  love. 
Almighty !  trembling  like  a  timid  child, 

I  hear  thy  awful  voice,  —  alarmed,  afraid, 
I  see  the  flashes  of  thy  lightning  wild, 

And  in  the  very  grave  would  hide  my  head  1         .      . 


64  PHYSICAL   AND    VOCAL   TRAINING. 

IV.     Very  low. 

1.  'T  is  midnight's  holy  hour,  and  silence  now 
Is  brooding,  like  a  gentle  spirit,  o'er 
The  still  and  pulseless  world. 

2.  There  was  silence,  and  I  heard  a  voice  saying, 
"  Shall  mortal  man  be  more  just  than  God  ? 
Shall  a  man  be  more  pure  than  his  Maker  ?  " 

3.       Night,  sable  goddess !  from  her  ebon  throne, 
In  rayless  majesty,  now  stretches  forth 
Her  leaden  sceptre  o'er  a  slumbering  world. 
Silence  how  dead !  and  darkness  how  profound ! 
Nor  eye  nor  listening  ear  an  object  finds. 
Creation  sleeps.     'T  is  as  the  general  pulse 
Of  life  stood  still,  and  nature  made  a  pause,  — 
An  awful  pause,  prophetic  of  her  end. 


CHAPTEE    XIV. 

RATE,     OR     MOVEMENT. 

ANOTHER  important  element  in  expression  is  movement 
Nothing  will  compensate  for  inappropriateness  in  the  rate 
of  uttering  a  given  passage.  As  the  stately  march  of  the 
solemn  procession  and  the  light  trip  of  the  joyous  child  are 
indicative  of  the  states  of  mind  which  prompt  them,  so 
the  movement  which  is  proper  in  reading  depends  upon 
the  emotion  intended  to  be  expressed.  If  the  reader  should 
ask  himself  what  would  be  his  manner  of  walking  while 
under  the  influence  of  any  particular  emotion,  it  would 
be  a  safe  guide  to  his  rate  of  utterance.  Animated  and 


RATE,   OR   MOVEMENT.  65 

playful  moods  would  manifest  themselves  in  a  light  and 
buoyant  step,  sometimes  tripping  and  bounding  along. 
On  the  contrary,  deep  emotions  of  solemnity  and  awe  can 
exist  only  with  very  slow  movements.  Dignity  requires 
in  its  expression  not  only  slowness  but  regularity  of 
movement.  Violent  passion  gives  rise  to  irregular  and 
impulsive  speech. 

The  succeeding  passages  afford  opportunity  for  appro- 
priate practice  in  different  rates  of  utterance.  Besides 
passages  like  these,  it  would  be  well  to  take  occasionally 
any  ordinary  paragraph,  and  utter  it  with  various  degrees 
of  rapidity,  merely  as  a  mechanical  discipline  of  the  or- 
gans. To  this  end  practice  should  be  had  in  reading 
with  great  precipitation,  without  losing  a  single  syllable. 
Extreme  slowness  of  utterance  is  very  impressive  when 
rightly  applied,  and  the  pupil  should  spare  no  pains  to 
acquire  this  grace. 


I.    Quick. 

1.  A  hurry  of  hoofs  in  a  village  street, 

A  shape  in  the  moonlight,  a  bulk  in  the  dark, 
And  beneath  from  the  pebbles  in  passing,  a  spark 
Struck  out  by  a  steed  that  flies  fearless  and  fleet. 

2.  The  steed  along  the  drawbridge  flies, 
Just  as  it  trembled  on  the  rise  ; 
Not  lighter  does  the  swallow  skim 
Along  the  smooth  lake's  level  brim. 

3.  All  the  little  boys  and  girls, 

With  rosy  cheeks  and  flaxen  curls, 

And  sparkling  eyes  and  teeth  like  pearls, 

Tripping  and  skipping,  ran  merrily  after 

The  wonderful  music,  with  shouting  and  laughter. 


66  PHYSICAL   AND    VOCAL   TRAINING. 


II.    Moderate. 

1.  Health  is  the  vital  principle  of  bliss 
And  exercise  of  health. 

2.  The  air,  the  earth,  the  water,  teem  with  delighted  exist- 
ence. In  a  spring  noon,  or  a  summer  evening,  on  whichever 
side  we  turn  our  eyes,  myriads  of  happy  beings  crowd  upon  our 
view. 

3.  Reason's  whole  pleasure,  all  the  joys  of  sense, 

Lie  in  three  words,  —  health,  peace,  and  competence  •• 
But  health  consists  with  temperance  alone ; 
And  peace,  0  Virtue,  peace  is  all  thy  own. 


III.    Slow. 

1.  Lord,  thou  hast  been  our  dwelling-place  in  all  generations. 
Before  the  mountains  were  brought  forth,  or  ever  thou  hadst 
formed  the  earth  and  the  world,  even  from  everlasting  to  ever' 
lasting,  thou  art  G-od. 

2.  The  curfew  tolls  the  knell  of  parting  day ; 

The  lowing  herd  winds  slowly  o'er  the  lea; 

The  ploughman  homeward  plods  his  weary  way, 

And  leaves  the  world  to  darkness  and  to  me. 

2.  The  hills, 
Rock-ribbed  and  ancient  as  the  sun,  —  the  vales, 
Stretching  in  pensive  quietness  between,  — 
The  venerable  woods,  —  rivers  that  move 

In  majesty,  —  and  the  complaining  brooks, 

That  make  the  meadows  green,  —  and,  poured  round  all, 

Old  ocean's  gray  and  melancholy  waste,  — 

Are  but  the  solemn  decorations  all 

Of  the  great  tomb  of  man. 


STRESS,  67 

IV.     Very  Slow. 

1.  0  thou  Eternal  One  !  whose  presence  bright 
All  space  doth  occupy,  all  motion  guide ; 
Unchanged  through  time's  all-devastating  flight ; 
Thou  only  God !    There  is  no  God  beside ! 

2.  Wide  as  the  world  is  his  command, 

Vast  as  eternity  his  love  ; 
Firm  as  a  rock  his  truth  shall  stand, 
When  rolling  years  shall  cease  to  move. 

3.  Here,  then,  is  a  support  which  will  never  fail;  here  is  a 
foundation  which  can  never  be  moved,  —  the  everlasting  Creator 
of  countless  worlds,  "  the  high  and  lofty  One  that  inhabiteth 
eternity."  What  a  sublime  conception !  He  inhabits  eternity, 
occupies  this  inconceivable  duration,  pervades  and  fills  through- 
out this  boundless  dwelling. 


CHAPTEE    XV. 

STRESS. 

THE  term  "  stress  "  is  used  to  indicate  the  manner  of  ap- 
plying force  to  a  tone.  A  sound  of  the  voice  may  be  con- 
sidered as  consisting  of  three  portions,  thus  :  .  1  .  a  .  3  ., 
called  respectively  the  Radical,  Median,  and  Terminal  por- 
tions ;  and  these  give  names  to  corresponding  forms  of 
stress,  according  as  force  is  applied  at  the  beginning,  middle, 
or  close  of  the  sound.  There  are  also  three  other  kinds  of 
stress,  —  the  Thorough,  indicating  that  the  tone  is  full  and 
strong  throughout  its  duration ;  •  the  Compound,  in  which 
an  impulse  is  given  both  at  the  beginning  and  the  end  of 
the  sound ;  and  the  Intermittent  stress,  or  Tremor,  in 


68  PHYSICAL    AND    VOCAL    TRAINING. 

which,  as  the  term  signifies,  there  is  a  tremulous  utterance 
of  the  sound. 

These  different  modes  of  stress  —  with  their  correspond- 
ing dynamic  terms  in  music  —  may  be  represented  to  the 
eye  as  follows  :  — - 

Radical       Median      Terminal    Thorough    Compound 
Stress.        Stress.         Stress.         Stress.  Stress.  Tremor. 

T    „     .  Explosive       Swell.       Pressure       Organ  ....          Tremolo. 

Tone.  Tone.          Tone. 

The  sounds  of  the  vowels  should  be  practised  in  these 
different  ways,  so  that  they  will  be  readily  at  the  command 
of  the  reader  or  speaker.  Afterward,  passages  like  those 
quoted  in  this  chapter  may  be  practised  with  reference  to 
the  application  of  the  appropriate  stress.  It  should  be 
understood  that  the  full  force  of  any  form  of  stress,  espe- 
cially the  abrupt  modes,  is  heard  only  on  the  emphatic 
words. 

I.    Radical  Stress. 

As  intimated  above,  the  radical  stress  is  more  or  less 
explosive.  For  example,  in  uttering  the  following  couplet 
with  spirit,  we  naturally  give  the  radical  stress  upon  the 
word  "  up,"  and  its  explosive  character  will  be  plainly 
perceived  :  — 

Up !  comrades,  up !  —  in  Rokeby's  halls 
Xe'er  be  it  said  our  courage  falls ! 

But  when  this  stress  falls  on  words  beginning  with  conso- 
nants, the  effect  upon  the  ear  is  not  so  sharp  and  incisive. 

The  radical  stress  is  used  in  abrupt  and  startling  emo- 
tions, and  in  the  expression  of  positive  and  decisive  con- 
victions. 

This  stress  is  not  always  used  in  a  violent  manner.     In 


STRESS.  69 

didactic  discourse,  for  instance,  it  simply  gives  clearness 
and  decision  to  the  utterance  ;  and  it  lends  a  life  and 
sparkle  to  what  would  otherwise  be  dull  in  delivery. 

Examples  of  the  Radical  Stress. 

1.  Arm,  arm,  and  out ! 

2.  Up  !    up  for  France  !    the  time  is  come  for  France  to  live  or 
die. 

3.  I  have  but  one  lamp  by  which  my  feet  are  guided;  and 
that  is  the  lamp  of  experience.     I  know  of  no  way  of  judging 
of  the  future  but  by  the  past. 


II.    Median  Stress. 

The  median  stress  corresponds  to  the  swell  in  music.  It 
is  used  in  the  outpouring  of  tranquil  and  fervent  emotions  ; 
and  is  specially  appropriate  in  poetic  expression.  Its  effect 
on  the  ear  is  more  marked  on  the  emphatic  words,  but  it 
requires  in  the  whole  sentence  a  certain  smoothness.  The 
words  are  poured,  as  it  were,  in  a  continuous  stream.  The 
whole  movement  is  gliding  and  graceful,  not  broken  and 
jerky. 

The  proper  application  of  the  median  stress  is  one  of  the 
most  refined  and  delicate  beauties  of  utterance.  A  due 
degree  of  it  in  ordinary  conversation  distinguishes  the  man 
of  culture  from  the  boor.  The  latter  speaks  with  the 
thorough  stress. 

Examples  of  the  Median  Stress. 

1.  0  precious  hours !    0  golden  prime, 
And  affluence  of  love  and  time  1 


70  PHYSICAL   AND    VOCAL    TRAINING. 

2.  So  live,  that  when  thy  summons  comes  to  join 
The  innumerable  caravan,  that  moves 
To  the  pale  realms  of  shade,  where  each  shall  take 
His  chamber  in  the  silent  halls  of  death, 
Thou  go  not,  like  the  quarry-slave  at  night, 
Scourged  to  his  dungeon ;  but,  sustained  and  soothed 
By  an  unfaltering  trust,  approach  thy  grave, 
Like  one  who  wraps  the  drapery  of  his  couch 
About  him,  and  lies  down  to  pleasant  dreams. 

3.  Father,  thy  hand 

Hath  reared  these  venerable  columns ;  thou 

Didst  weave  this  verdant  roof.     Thou  didst  look  down 

Upon  the  naked  earth,  and,  forthwith,  rose 

All  these  fair  ranks  of  trees.     They,  in  thy  sun, 

Budded,  and  shook  their  green  leaves  in  the  breeze, 

And  shot  toward  heaven. 


III.    Terminal  Stress. 

Although  this  mode  of  stress  has  been  compared  to  the 
"  pressure  tone  "  in  music,  its  effect  on  the  ear  is  more  ab- 
rupt. When  the  pupil  is  acquiring  it  by  practice  upon  the 
vowels,  it  would  be  well  to  begin  the  sound  gently,  then 
give  a  sudden  impulse  from  the  diaphragm,  thus  making 
the  last  part  of  the  tone  abrupt.  In  the  first  attempts  the 
initial  portion  of  the  sound  may  be  somewhat  prolonged, 
then  it  should  be  made  shorter  and  shorter,  till  the  forcible 
part  follows  instantaneously  after  the  ear  catches  the  open- 
ing sound. 

An  illustration  of  the  terminal  stress  is  afforded  in  the 
bark  of  a  dog  threatening  to  bite.  There  is  an  initial  growl 
which  breaks  into  a  startling  explosion.  A  hiccough  or  a 
sob  will  also  illustrate  the  peculiar  manner  in  which  force 
is  applied  in  this  form  of  stress. 

The  terminal  stress  is  used  in  the  expression  of  deter- 


STRESS.  71 

mined  will ;  in  stubborn  passion,  like  scorn,  defiance,  and 
revenge  ;  and  in  peevishness  and  impatience. 

Examples  of  the  Terminal  Stress. 

1.  Blaze,  with  your  serried  columns ! 
I  will  not  bend  the  knee. 

2.  But  here  I  stand  and  scoff  you !  here,  I  fling 
Hatred  and  full  defiance  in  your  face ! 
Your  consul 's  merciful :  —  for  this,  all  thanks. 
He  dares  not  touch  a  hair  of  Catiline  ! 

3.  And,  Douglas,  more  I  tell  thee  here, 

Even  in  thy  pitch  of  pride, 
Here  in  thy  hold,  thy  vassals  near, 

I  tell  thee,  thou  'rt  defied! 
And  if  thou  saidst,  I  am  not  peer 
To  any  lord  in  Scotland  here, 
Lowland  or  Highland,  far  or  near, 

Lord  Angus,  thou  hast  lied! 


IV.    Thorough   Stress. 

The  chief  use  of  the  thorough  stress  is  in  shouting  and 
calling,  where  it  is  necessary  to  have  a  full  and  sustained 
body  of  voice  in  order  to  make  the  tone  reach  the  desired 
distance.  Street  cries,  such  as  "Oy's!"  "  Charco' !  "  etc., 
generally  afford  an  example  of  this  mode  of  force.  It  may 
sometimes  be  combined  with  the  median  stress  to  give  a 
more  sustained  effect  to  the  monotone  ;  but  its  use  in  ordi- 
nary discourse  is  a  blemish  which  destroys  all  the  grace  and 
beauty  of  delivery.  It  is  employed  in  some  forms  of  comic 
personation,  as  indicative  of  rude  or  rustic  coarseness. 

The  school-room  too  often  affords  illustrations  of  the 
thorough  stress  in  the  siistained,  half-shouting  tone,  else- 
where alluded  to,  in  which  recitations  are  carried  on.  It 


72  PHYSICAL   AND   VOCAL    TRAINING. 

is  not  the  natural  tone  of  intelligence  or  refined  feeling, 
and,  where  incessantly  adopted,  tends  to  destroy  these 
qualities  in  the  pupil. 

Examples  of  Thorough  Stress. 
1.  Boat  ahoy!    Boat  ahoy! 

2.  Vanguard !  to  the  right  and  left  the  front  unfold ! 

3.  Rejoice,  you  men  of  Angiers,  ring  your  bells ! 

King  John,  your  king  and  England's,  doth  approach : 
Open  your  gates,  and  give  the  victors  way  1 


V.    Compound  Stress. 

The  compound  stress  may  be  considered  a  union  of  the 
radical  and  terminal  stresses  upon  the  same  sound.  It  is 
generally  used  to  express  a  complication  of  emotions,  as  of 
surprise,  indignation,  and  anger.  An  example  of  its  use 
would  occur,  for  instance,  when  an  officer,  finding  his  own 
menial  guilty  of  some  audacious  piece  of  mischief,  says, 
"  You  !  you  rascal  1 "  It  usually  occurs  upon  words  which 
require  also  the  circumflex  inflection. 

Examples  of  the  Compound  Stress. 

1.  "Out  on  him!  "  quoth  false  Sextus; 
"  Will  not  the  villain  drown  ?  " 

2.  "  'T  is  green,  't  is  green,  sir,  I  assure  ye,"  — 
"  Green  !  "  cries  the  other  in  a  fury ; 
"  Why,  sir,  d'  ye  think  I  've  lost  my  eyes  ?  " 

3.  Gone  to  be  married !  gone  to  swear  a  peace ! 
It  is  not  so ;  thou  hast  misspoke,  misheard ; 
Be  well  advised,  tell  o'er  thy  tale  again. 
It  cannot  be;  thou  dost  but  SAY,  'tis  so. 


STRESS.  73 

VI.    Intermittent  Stress  or  Tremor. 

The  voice  trembles  in  the  natural  expression  of  feeble- 
ness, grief,  old  age ;  and  in  any  excessive  emotion  of  what- 
ever nature.  Skilfully  and  delicately  used,  the  tremor  gives 
extreme  effect  to  many  emotional  passages  ;  but  the  excess 
of  it  greatly  mars  the  effect  of  delivery. 

Examples  of  Intermittent  Stress. 

1.  Oh!  I  have  lost  you  all ! 

Parents,  and  home,  and  friends. 

2.  Go,  preach  to  the  coward,  thou  death-telling  seer  I 
Or,  if  gory  Culloden  so  dreadful  appear, 

Draw,  dotard,  around  thy  old  wavering  sight, 
This  mantle,  to  cover  the  phantoms  of  fright. 

3.  I  tax  not  you,  you  elements,  with  unkindness. 
I  never  gave  you  kingdom,  called  you  children. 
You  owe  me  no  subscription.     Why,  then,  let  fall 
Your  horrible  pleasure  ?     Here  I  stand,  your  slave,  — 
A  poor,  infirm,  weak,  and  despised  old  man. 


74  PHYSICAL   AND   VOCAL   TRAINING. 


CHAPTEE     XVI. 

TRANSITJ^Y. 

FEW  writings  are  so  dull  as  not  to  require  varied  intona- 
tions ;  and  the  finest  literary  productions  will  seem  tame  if 
drawled  or  droned  without  change  of  vocal  effect.  Indeed, 
tones  are  often  more  powerful  in  their  influence  upon  the 
hearer  than  words  themselves.  Yet  even  the  best  tone  palla 
upon  the  ear  if  continued  too  long,  —  if  unrelieved  by 
contrast.  Let  the  reader  therefore  seize  every  occasion  for 
change  in  quality,  force,  movement,  and  pitch  of  voice.  He 
must  learn  to  pass  rapidly  and  easily  from  grave  to  gay, 
from  lively  to  severe.  The  power  to  do  this  mentally  is  in 
a  measure  a  gift ;  but  the  physical  ability  is  in  a  large 
majority  of  instances,  even  among  the  most  gifted,  the  re- 
sult of  discipline.  To  understand  a  sentiment  or  feel  an 
emotion  is  not  enough.  Only  a  perfect  control  of  the  or- 
gans of  speech  can  enable  one  to  give  these  mental  states 
proper  significance  through  the  voice.  A.nd  diligent  training 
is  needed  to  give  the  organs  the  necessary  facility. 

Exercises  like  those  in  the  present  and  the  following 
chapter  should  be  perseveringly  practised  t  Jl  the  pupil  haa 
mastered  every  needful  variety. 

1. 

SOFT.      Soft  is  the  strain  when  zephyr  gently  blows, 

And  the  smooth  stream  in  smoother  numbers  flows ; 

Loup.     But  when  loud  surges  lash  the  sounding  shore, 

The  hoarse  rough  verse  should  like  the  torrent  roar. 


TRANSITION. 


2. 


75 


SLOW.    When  Ajax  strives  some  rock's  vast  weight  to  throw, 
The  line,  too,  labors,  and  the  words  move  slow ; 

QUICK.   Not  so,  when  swift  Camilla  scours  the  plain, 

Flies  o'er  the  unbending  corn,  and  skims  along  the  main. 


3. 


ASPIRATED 


Hush !  hark !  did  stealing  steps  go  by  ? 

Came  not  faint  whispers  near  ? 

PUKE  TONE.    No !  —  The  wild  wind  hath  many  a  sigh 
Amid  the  foliage  sere. 

4. 

PURE  TONE.    A  thousand  hearts  beat  happily ;  and  when 
Music  arose  with  its  voluptuous  swell, 
Soft  eyes  looked  love  to  eyes  which  spake  again, 
And  all  went  merry  as  a  marriage-bell ;  — 

ASPIRATED.   But  hush !   hark !  a  deep  sound  strikes  like  a  rising 
knell! 


5. 


OROTUND. 


Her  giant  form 
O'er  wrathful  surge,  through  blackening  storm, 
Majestically  calm,  would  go, 
'Mid  the  deep  darkness,  white  as  snow ! 

PUKE  TONE.    But  gentler  now  the  small  waves  glide 

Like  playful  lambs  o'er  a  mountain's  side, 

OROTUND.  So  stately  her  bearing,  so  proud  her  array, 
The  main  she  will  traverse  forever  and  aye. 
Many  ports  will  exult  at  the  gleam  of  her  mast ! 

ASPIRATED.    Hush !  hush !  thou  vain  dreamer !  this  hour  is  her  last. 


6. 

GRADUALLY    How  soft  the  music  of  those  village  bells, 
SOFTER.       Falling  at  intervals  upon  the  ear 

In  cadence  sweet !  now  dying  all  away, 
GRADUALLY    Now  pealing  loud  again,  and  louder  still, 
LOUDER.      Clear  and  sonorous  as  the  gale  comes  on. 


76 


PHYSICAL   AND   VOCAL   TRAINING. 


MIDDLE  PITCH.    From  that  chamber,  clothed  in  white, 

The  bride  came  forth  on  her  wedding  night; 

Low  PITCH.          There,  in  that  silent  room  below, 

The  dead  lay  in  his  shroud  of  snow. 


LOUD.          Rise !  rise !  ye  wild  tempests,  and  cover  his  flight ! 
SUBDUED.     'T  is  finished.    Their  thunders  are  hushed  on  the  moors, 
Culloden  is  lost,  and  my  country  deplores. 

9. 

LOUD.     The  double,  double,  double  beat 
Of  the  thundering  drum, 
Cries,  Hark !  the  foes  come  : 
Charge,  charge !  't  is  too  late  to  retreat. 

SOFT.      The  soft  complaining  flute, 
In  dying  notes  discovers 
The  woes  of  hapless  lovers ; 
Whose  dirge  is  whispered  by  the  warbling  lute. 

10. 

LOUD.     The  combat  deepens.     On,  ye  brave, 
"Who  rush  to  glory,  or  the  grave ! 
Wave,  Munich !   all  thy  banners  wave. 
And  charge  with  all  thy  chivalry ! 


SOFT. 


Ah  !  few  shall  part  where  many  meet ! 
The  snow  shall  be  their  winding-sheet, 
And  every  turf  beneath  their  feet 
Shall  be  a  soldier's  sepulchre. 

11. 


LOUD. 


Once  more  unto  the  breach,  dear  friends,  once  more, 
Or  close  the  wall  up  with  our  English  dead ! 
MODERATE.    In  peace,  there  's  nothing  so  becomes  a  man, 
As  modest  stillness  and  humility ; 


TRANSITION. 


77 


LOUD.  But  when  the  blast  of  war  blows  in  our  ears, 

Then  imitate  the  action  of  the  tiger ; 
Stiffen  the  sinews,  summon  up  the  blood, 
Disguise  fair  nature  with  hard-favored  rage. 

VERT  LOUD.    On,  ON,  you  noblest  English, 

Whose  blood  is  fetched  from  fathers  of  war-proof! 
Fathers,  that,  like  so  many  Alexanders, 
Have,  in  these  parts,  from  morn  till  even  fought. 
And  sheathed  their  swords  for  lack  of  argument. 

QUICK  AND     I  see  you  stand  like  greyhounds  in  the  slips, 
Straining  upon  the  start.     The  game  's  afoot ; 
Follow  your  spirits,  and,  upon  this  charge, 

VERY  LOUD.  CRY,  —  HEAVEN  FOR  HARRY  !    ENGLAND  !    AND  ST 
GEORGE ! 


12. 

ASPIRATED.    Hark !  below  the  gates  unbarring ! 

Tramp  of  men  and  quick  commands ! 
PURE  TONE.    "  'T  is  my  lord  come  back  from  hunting." 
And  the  Duchess  claps  her  hands. 

SOFT-  Slow  and  tired,  came  the  hunters; 

Stopped  in  darkness  in  the  court. 
LOUD.  "  Ho,  this  way,  ye  laggard  hunters ! 

To  the  hall !    What  sport,  what  sport? ' 

SLOW  AND  Slow  they  entered  with  their  Master ; 

SOFT.  In  the  hall  they  laid  him  down. 

SLIGHTLY  On  his  coat  were  leaves  and  blood-stains 

ASPIRATED.  On  his  brow  an  angry  frown. 


GRADUALLY 

LOUDER. 
GRADUALLY 

SOFTKK. 


13. 

Ever,  as  on  they  bore,  Tnore  loud, 
And  louder  rang  the  pibroch  proud. 
At  first  the  sound,  by  distance  tame, 
Mellowed,  along  the  waters  came ; 
And  lingering  long  by  cape  and  bay, 
Wailed  every  harsher  note  away ; 


78  PHYSICAL   AND   VOCAL   TRAINING. 

LOUD.  When  bursting  bolder  on  the  ear, 

The  clan's  shrill  gathering  they  could  hear,  — 
Those  thrilling  sounds,  that  call  the  might 
Of  old  Clan- Alpine  to  the  fight. 

14. 

SOFT  ORO-  Father  of  earth  and  heaven !    I  call  thy  name ! 
TUKD.  Round  me  the  smoke  and  shout  of  battle  roll ; 

My  eyes  are  dazzled  with  the  rustling  flame ;  — 
Father,  sustain  an  untried  soldier's  souL 
Or  life,  or  death,  whatever  be  the  goal 
That  crowns  or  closes  round  the  struggling  hour, 

Thou  knowest,  if  ever  from  my  spirit  stole 
One  deeper  prayer,  't  was  that  no  cloud  might  lower 
On  my  young  fame !  —  0  hear !  God  of  eternal  power. 

LOUD  OKO-  Now  for  the  fight  —  now  for  the  cannon  peal  — 
TUND.  Forward  —  through  blood  and  toil   and  cloud  and 

fire ! 

Glorious  the  shout,  the  shock,  the  crash  of  steel, 
The  volley's  roll,  the  rocket's  blasting  spire ; 
They  shake,  —  like    broken   waves    their    squares 

retire,  — 

On  them,  hussars !  — Now  give  them  rein  and  heel ; 
Think  of  the  orphaned  child,  the  murdered  sire :  — 
Earth  cries  for  blood,  —  in  thunder  on  them  wheel ! 
This  hour  to  Europe's  fate  shall  set  the  triumph-seal ! 


IMITATIVE   MODULATION.  79 


CHAPTEE    XVII. 

IMITATIVE     MODULATION. 

"  NOTHING  is  more  natural  than  to  imitate,  by  the  sound 
of  the  voice,  the  quality  of  the  sound  or  noise  which  any 
external  object  makes,  and  to  form  its  name  accordingly.  A 
certain  bird  is  termed  the  cuckoo,  from  the  sound  which  it 
emits.  When  one  sort  of  wind  is  said  to  whistle,  and  an- 
other to  roar ;  when  a  serpent  is  said  to  hiss,  a  fly  to  buzz, 
and  falling  timber  to  crash ;  when  a  stream  is  said  to  flow, 
and  hail  to  rattle ;  the  analogy  between  the  word  and  the 
thing  signified  is  plainly  discernible."  But  imitation  is  not 
confined  to  single  words.  The  works  of  poetical  and  ima- 
ginative writers  abound  in  passages  which  by  their  melody 
suggest  their  meaning.  These  passages  must,  from  their 
very  nature,  receive  the  interpretation  of  the  voice  to  con- 
vey their  full  force.  The  following  examples  are  selected, 
upon  which  the  pupil  may  practise  in  making  the  sound  an 
echo  of  the  sense. 

1.  War  and  Peace. 

The  brazen  throat  of  war  had  ceased  to  roar, 
All  now  was  turned  to  jollity  and  game. 

2.  A  Giant. 

With  sturdy  steps  came  stalking  on  his  sight 
A.  hideous  giant,  horrible  and  high. 


80  PHYSICAL   AND   VOCAL   TRAINING. 

3.  Hum  of  Insects. 

The  shard-borne  beetle  with  his  drowsy  hums 
Hath  rung  night's  yawning  peal 

4.  Harsh  Sounds. 

On  a  sudden  open  fly 

The  infernal  gates,  and  on  their  hinges  grate 
fla/sh  thunder ! 

5.  Harmonious  Sounds. 

Heaven  opened  wide 
Her  ever-during  gates,  harmonious  sound, 
On  goiden  hinges  turning. 

6.  Ragi,.g  of  the  Elements. 

Such  bursts  of  horrid  thunder, 
Such  groans  of  roaring  wind  and  rain,  I  never 
Remember  to  have  heard. 

7.  Running  Watt,s. 

Fountains,  and  ye  that  warble  as  ye  Jow 
Melodious  murmurs,  warbling  tune  his  pndse. 

8.  Movements  of  Monsters. 

Part  huge  of  bulk, 

Wallowing  unwieldy,  enormous  in  their  gait 
Tempest  the  ocean. 

9.  Moaning  of  the  Wind. 

While  a  low  and  melancholy  moan 
Mourns  for  the  glory  that  hath  flown. 

10.  Surges. 

As  raging  seas  are  wont  to  roar, 
When  wintry  storm  his  wrathful  wreck  does  threat, 
The  rolling  billows  beat  the  ragged  shore. 


IMITATIVE  MODULATION.  81 

11.  Gentle  Whisper  of  Leaves. 

There  crept 

A  little  noiseless  noise  among  the  leaves, 
Born  of  the  very  sigh  that  silence  heaves. 

\ 
12.  A  Shipwreck. 

Her  keel  hath  struck  on  a  hidden  rock, 

Her  planks  are  torn  asunder, 
And  down  come  her  masts  with  a  reeling  shock, 

And  a  hideous  crash  like  thunder. 

13.  Sounds  heard  in  the  Country. 

Down  the  rough  slope  the  ponderous  wagon  rings ; 
Through  rustling  corn  the  hare  astonished  springs ; 
Slow  tolls  the  village  clock  the  drowsy  hour  ; 
The  partridge  bursts  away  on  whirring  wings. 

14.  Laborious  and  Impetuous  Motion. 
With  many  a  weary  step,  and  many  a  groan 
Up  the  high  hill  he  heaves  a  huge  round  stone : 
The  huge  round  stone  resulting  with  a  bound, 
Thunders  impetuous  down,  and  smokes  along  the  ground. 

15.  Tramp  of  Soldiers. 

And  the  measured  tread  of  the  grenadiers, 
Marching  down  to  their  boats  on  the  shore. 

1 6.  Language  compared  to  an  Organ. 

0,  how  our  organ   can   speak  with   its   many  and  wonderful 

voices,  — 

Play  on  the  soft  lute  of  love,  blow  the  loud  trumpet  of  war, 
Sing  with  the  high  sesquialtro,  or,  drawing  its  full  diapason, 
Shake  all  the  air  with  the  grand  storm  of  its  pedals  and  stops. 
4*  *• 


82  PHYSICAL   AND   VOCAL   TRAINING. 

1 7.  Boisterous  and  Gentle  Sounds. 

Two  craggy  rocks  projecting  to  the  main, 
The  roaring  wind's  tempestuous  rage  restrain : 
Within,  the  waves  in  softer  murmurs  glide ; 
And  ships  secure  without  their  halsers  ride. 

18.  Two  Voices  contrasted. 

So  far  her  voice  flowed  on,  like  timorous  brook 
That,  lingering  along  a  pebbled  coast, 
Doth  fear  to  meet  the  sea :  but  sea  it  met, 
And  shuddered ;  for  the  overwhelming  voice 
Of  huge  Enceladus  swallowed  it  in  wrath: 
The  ponderous  syllables,  like  sullen  waves 
In  the  half-glutted  hollows  of  reef-rocks, 
Came  booming. 

• 

19.  The  Witches'  Caldron. 

For  a  charm  of  powerful  trouble 
Like  a  hell-broth  boil  and  bubble; 
Double,  double  toil  and  trouble, 
Fire  burn,  and  caldron  bubble. 

20.  Power  of  the  English  Language. 

Now  clear,  pure,  hard,  bright,  and  one  by  one,  like  to  hail-stones, 

Short  words  fall  from  his  lips  fast  as  the  first  of  a  shower,  — 

Now  in  twofold  column,  Spondee,  Iamb,  and  Trochee, 

Unbroke,  firm-set,  advance,  retreat,  trampling  along,  — 

Now  with  a  sprightlier  springiness,  bounding  in  triplicate  syllables. 

Dance  the  elastic  Dactylics  in  musical  cadences  on; 

Now,  their  voluminous  coil  intertangling  like  huge  anacondas, 

Roll  overwhelmingly  onward  the  sesquipedalian  words. 


PICTURING.  83 


CHAPTER    XVIII. 

PICT  URING. 

AN  Arabian  proverb  says,  "He  is  the  best  orator  who 
can  turn  men's  ears  into  eyes."  The  same  truth  will  apply 
with  equal  force  to  the  reader.  He  is  the  skilful  reader 
who  succeeds  in  bringing  up  in  the  minds  of  his  hearers 
vivid  images  of  the  scenes  delineated  and  the  persons  de- 
scribed. To  do  this  he  must  have  in  his  mind  a  clear  con- 
ception of  everything  he  would  convey.  The  pictures  and 
personages  must  become  real  to  him  for  the  time. 

"  Think  when  we  talk  of  horses  that  you  see  them 
Printing  their  proud  hoofs  i'  th'  receiving  earth." 

So  real  must  the  picture  be  to  the  reader  that  he  would  be 
able  to  answer  questions  concerning  details  not  named  by 
the  author  he  is  interpreting.  He  must  fill  up  from  his 
own  mind  the  oiitline  which  the  writer  has  drawn  in  words. 
Indeed,  this  is  the  chief  secret  of  effective  and  impressive 
reading.  If  a  person  having  a  good  voice  and  mechanical 
execution  fails  in  giving  proper  expression  to  a  given  pas- 
sage, the  remedy  is  not  to  be  found  by  recalling  some  dry 
rule,  but  by  arousing  himself  to  a  realization  of  the  meaning 
to  be  conveyed.  And  it  will  follow,  from  this,  that  as  a 
person  never  thinks  and  feels  twice  precisely  alike,  so  his 
reading  of  any  passage,  if  it  is  genuine,  will  vary.  The 
essential  thing  required  of  him  is  that  he  have  an  exact 
idea  of  what  he  would  express,  and  that  he  then  express 


84  PHYSICAL  AND   VOCAL   TRAINING. 

just  that.  Doing  this,  he  will  scarcely  fail  to  reproduce  in 
the  mind  of  the  listener  the  same  conceptions  which  exist 
hi  his  own. 

The  passages  quoted  below  afford  opportunity  for  practice 
hi  picturing.  The  pupil  has  of  course  done  this  to  a  greater 
or  less  extent  all  along,  and  especially  in  the  two  preceding 
chapters ;  but  in  the  extracts  below,  the  picturing  is  to  be 
made  the  chief  object. 

1.  Flag  of  the  heroes  who  left  us  their  glory, 

Borne  through  our  battle-field's  thunder  and  flame, 
Blazoned  in  song  and  illumined  in  story, 
Wave  o'er  us  all  who  inherit  their  fame ! 

The  pupil  having  read  these  lines,  questions  like  the  fol- 
lowing may  be  asked,  to  test  whether  he  really  had  a  picture 
in  his  mind  or  not,  and  whether  his  picture  was  a  correct 
one. 

Did  you  see  the  flag  while  reading  ? 

Was  it  a  large  or  small  one  1 

Was  it  a  British  flag,  or  one  of  some  other  nation  1 

What  was  it  made  of,  —  bunting  or  silk  ? 

Was  it  a  new  flag  or  an  old  one  1 

Was  it  clean  or  smoke-begrimed  1     Whole  or  torn  ? 

Was  it  waving  in  the  wind  ]  etc. 

2.  Lo  !  how  impatiently  upon  the  tide 

The  proud  ship  tosses,  eager  to  be  free. 
Her  flag  streams  wildly,  and  her  fluttering  sails 
Pant  to  be  on  their  flight. 

Did  you  see  a  ship  1 

Was  it  a  large  or  small  one  ] 

A  steamer  or  sailing  vessel  ? 

What  color  was  the  hull  1 

Was  it  on  a  river,  harbor,  or  the  open  sea  ? 

Did  you  observe  the  surface  of  the  water  1 


PICTURING.  85 

Was  it  smooth  or  rough  1 

What  gave  the  ship  the  appearance  of  impatience  ? 

What  can  you  recall  about  her  flag  1 

3.  Somewhat  back  from  the  village  street 
Stands  the  old-fashioned  country-seat. 

Did  you  have  a  picture  in  your  mind  while  reading  ? 
Was  the  country-seat  you  had  in  mind  built  of  wood  or 
brick  1 

How  many  stories  high  was  it  1 

Did  you  observe  any  trees  or  shrubbery  near  it  1 

Any  garden  in  front  1 

Were  any  of  the  occupants  in  sight  1 

4.  Then  the  Master, 

With  a  gesture  of  command 
Waved  his  hand. 

Read  the  above  so  as  to  convey  the  idea,  with  the  voice 
alone,  that  the  Master  made  a  quick  gesture. 
A  slow  gesture. 
A  dignified  gesture. 
A  languid  gesture. 

A  waving  of  the  hand  from  the  wrist. 
A  gesture  of  triumph  or  exultation. 
The  gesture  you  suppose  he  really  made. 

5.  And  at  the  word 

Loud  and  sudden  there  was  heard, 
All  around  them  and  below, 
The  sound  of  hammers,  blow  on  blow, 
Knocking  away  the  shores  and  spurs. 

Read  this  so  as  to  give  the  idea  that  tack  hammers  were 
the  implements  used. 

Again,  and  let  it  be  carpenters'  hammers. 
Sledge  hammers  swung  with  both  hands. 


86  PHYSICAL  AND   VOCAL   TRAINING. 

6.  And  lo  !  from  the  assembled  crowd 
There  rose  a  shout  prolonged  and  loud. 

Give  the  idea  in  reading  that  one  person  shouted. 
That  a  few  persons  shouted. 
A  large  number  shouted. 
The  whole  crowd  shouted. 

Read  it  with  the  hard  "  school-boy  "  tone,  which  suggests 
no  image  to  the  hearer. 

7.  Here  are  old  trees  —  tall  oaks  and  gnarled  pines  — 
That  stream  with  gray-green  mosses. 

Bring  up  the  image  in  the  mind  of  old,  dead  logs. 
Think  of  a  few  very  tall  trees. 
A  cluster  of  small  trees. 
A  forest  at  a  little  distance. 

A  dense  forest  of  grand  trees,  the  speaker  being  in  their 
midst. 

Vary  the  picture  as  to  light  or  darkness. 

8.  0  Freedom,  thou  art  not,  as  poet's  dream, 

A  fair  young  girl,  with  light  and  delicate  limbs, 
And  wavy  tresses,  gushing  from  the  cap 
With  which  the  Roman  master  crowned  his  slave 
When  he  took  off  the  gyves. 

Picture  a  school-girl  tripping  along. 

An  amazon. 

A  feeble,  languid  person. 

A  statue. 

The  real  idea  intended  by  the  poet,  as  you  understand  it. 

9.  A  bearded  man, 
Armed  to  the  teeth,  art  thou  ;  one  mailed  hand 
Grasps  the  broad  shield,  and  one  the  sword. 


SELECTIONS   FOR   PRACTICE   IN   READING.  87 

Represent  a  feeble  or  effeminate  youth. 

A  strong  man. 

A  giant. 

Represent  the  sword  as  raised  to  strike. 

The  sword  resting  upon  the  ground. 

Any  other  picture  that  you  can  think  of. 


CHAPTER    XIX. 

SELECTIONS   FOR   PRACTICE  IN  READING. 

I.    Light  and  Conversational. 

1.  Two  honest  tradesmen  meeting  in  the  Strand, 
One  took  the  other  briskly  by  the  hand  : 
"Hark  ye,"  said  he,  "  'tis  an  odd  story  this, 
About  the  crows !  "     "I  don't  know  what  it  is," 
Replied  his  friend.     "  No  ?   I  'm  surprised  at  that , 
Where  I  come  from,  it  is  the  common  chat." 

2.  Have  you  heard  of  the  wonderful  oue-hoss  shay, 
That  was  built  in  such  a  logical  way 
It  ran  a  hundred  years  to  a  day, 
And  then,  of  a  sudden,  it  —  ah,  but  stay, 
I  '11  tell  you  what  happened  without  delay : 
Scaring  the  parson  into  fits, 
Frightening  people  out  of  their  wits,  — 
Have  you  ever  heard  of  that,  I  say  ? 

3.  "  Gentlemen  and  ladies,"  said  the  showman,  "  here  you  have 
a  magnificent  painting  of  Daniel  in  the  lions'  den.  Daniel  can 
be  easily  distinguished  from  the  lions  by  the  green  cotton  um- 
brella under  his  arm." 


88  PHYSICAL   AND   VOCAL   TRAINING. 

4.       Hamelin  Town  's  in  Brunswick, 
By  famous  Hanover  city  : 

The  river  Weser,  deep  and  wide, 

Washes  its  wall  on  the  southern  side  ; 

A  pleasanter  spot  you  never  spied ; 
But  when  begins  my  ditty, 

Almost  five  hundred  years  ago, 

To  see  the  townsfolk  suffer  so 
From  vermin,  was  a  pity. 

5.  Insects  generally  must  lead  a  jovial  life.  Think  what  it 
must  be  to  lodge  in  a  lily.  Imagine  a  palace  of  ivory  and  pearl, 
with  pillars  of  silver  and  capitals  of  gold,  and  exhaling  such  a 
perfume  as  never  arose  from  human  censer.  Fancy  again  the 
fun  of  tucking  one's  self  up  for  the  night  in  the  folds  of  a  rose, 
rocked  to  sleep  by  the  gentle  sighs  of  summer  air,  nothing  to  do 
when  you  awake  but  to  wash  yourself  in  a  dew-drop,  and  fall  to 
eat  your  bedclothes. 

6.  Little  of  all  we  value  here 

Wakes  on  the  morn  of  its  hundredth  year, 

Without  both  feeling  and  looking  queer. 

In  fact,  there  's  nothing  that  keeps  its  youth, 

So  far  as  I  know,  but  a  tree  and  truth. 

(This  is  a  moral  that  runs  at  large ; 

Take  it.  —  You  're  welcome.  —  No  extra  charge.) 

7.  There  's  a  good  time  coming,  boys, 

A  good  time  coming : 
We  may  not  live  to  see  the  day, 
But  earth  shall  glisten  in  the  ray 

Of  the  good  time  coming. 
Cannon  balls  may  aid  the  truth, 

But  thought 's  a  weapon  stronger ; 
We  '11  win  our  battle  by  its  aid  ;  — 

Wait  a  little  longer. 


SELECTIONS   FOR   PRACTICE   IN   READING.  89 


II.    Serious  and  Didactic. 

1.  "  It  is  impossible !  "  said  one  of  Napoleon's  staff-officers,  in 
reply  to  his  great  commander's  description  of  a  plan  for  some 
daring  enterprise.  "  Impossible  !  "  cried  the  emperor,  with  in- 
dignation frowning  on  his  brow,  —  "  impossible  is  the  adjective 
of  fools ! " 

2.  We  live  in  deeds,  not  years ;  in  thoughts,  not  breaths ; 
In  feelings,  not  in  figures  on  a  dial. 

We  should  count  time  by  heart-throbs.     He  most  lives 
Who  thinks  most,  feels  the  noblest,  acts  the  best. 
Life  is  but  a  means  unto  an  end ;   that  end, 
Beginning,  mean,  and  end  to  all  things,  —  God. 

3.  The  maxim  that  no  people  ought  to  be  free  till  they  are 
fit  to  use  their  freedom,  is  worthy  of  the  fool  in  the  old  story, 
who  resolved  not  to  go  into  the  water  till  he  had  learned  to  swim. 
If  men  are  to  wait  for  liberty  till  they  become  wise  and  good  in 
slavery,  they  may  indeed  wait  forever. 

4.  I  consider  a  human  soul  without  education,  like  marble  in 
the  quarry,  which  shows  none  of  its  inherent  beauties,  until  the 
skill  of  the  polisher  fetches  out  the  colors,  makes  the  surface 
shine,  and  discovers  every  ornamental  cloud,  spot,  and  vein  that 
runs  through  the  body  of  it.     Education,  after  the  same  manner, 
when  it  works  upon  a  noble  mind,  draws  out  to  view  every 
latent  virtue  and    perfection,  which,  without   such  helps,   are 
never  able  to  make  their  appearance. 

5.  Give  us,  0  give  us,  the  man  who  sings  at  his  work !     He 
will  do  more  in  the  same  time,  —  he  will  do  it  better,  —  he  will 
persevere  longer.     One  is  scarcely  sensible  of  fatigue  whilst  he 
marches  to  music.     The  very  stars  are  said  to  make  harmony  as 
they  revolve  in  their  spheres.     Wondrous  is  the  strength  of 
cheerfulness,  altogether  past  calculation  its  powers  of  endurance. 
Efforts,  to  be  permanently  useful,  must  be  unifoftnly  joyous,  a 
spirit  all  sunshine,   graceful  from  very  gladness,   beautiful   be- 
cause bright. 


90  PHYSICAL   AND   VOCAL   TRAINING. 

6.    Stranger,  if  thou  hast  learned  a  truth  which  needs 
Experience  more  than  reason,  —  that  the  world 
Is  full  of  guilt  and  misery,  —  and  hast  known 
Enough  of  all  its  crimes  and  cares 
To  tire  thee  of  it,  —  enter  this  wild  wood, 
And  view  the  haunts  of  Nature. 

7.  Patrick  Henry,  who  gave  the  first  impulse  to  the  ball  of  the 
Revolution,  introduced  his  celebrated  resolution  on  the  Stamp 
Act,  in  the  Virginia  House  of  Burgesses,  in  1765.  As  he  des- 
canted on  the  tyranny  of  that  obnoxious  act,  he  exclaimed: 
"  Caesar  had  his  Brutus ;  Charles  the  First,  his  Cromwell ;  and 
George  the  Third  —  "  "Treason!"  cried  the  Speaker;  "Trea- 
son !  Treason!  Treason!  "  re-echoed  from  every  part  of  the  house. 
It  was  one  of  those  trying  moments  which  are  decisive  of  char- 
acter ;  but  Henry  faltered  not  for  an  instant ;  and  rising  to  a 
loftier  attitude,  and  fixing  on  the  Speaker  an  eye  flashing  with 
fire,  continued  —  "  may  profit  by  these  examples :  if  this  be 
treason,  make  the  most  of  it." 


III.    Dignified  and  Declamatory. 

1.  How  far,  0  Catiline  !  wilt  thou  abuse  our  patience  ?    How 
long  shalt  thou  baffle  justice  in  thy  mad  career  ?     To  what  ex- 
treme wilt  thou  carry  thy  audacity  ?     Art  thou  nothing  daunted 
by  the  nightly  watch  posted  to  secure  the  Palatium  ?     Nothing, 
by  the  city  guards  ?     Nothing,  by  the  rally  of  all  good  citizens  ? 
Nothing,  by  the  assembling  of  the  Senate  in  this  fortified  place  ? 
Nothing,  by  the  averted  looks  of  all  here  present  ? 

2.  No  one  venerates  the  Peerage  more  than  I  do ;  but,  my 
lords,  I  must  say  that  the  Peerage  solicited  me,  —  not  I  the 
Peerage.     Nay,  more,  —  I  can  say,  and  will  say,  that,  as  a  peer 
of  Parliament,  as    Speaker   of  this   right  honorable  House,  as 
keeper  of  the  great  seal,  as  guardian  of  his  Majesty's  conscience, 
as  Lord  High  Chancellor  of  England,  — nay,  even  in  that  char- 
acter alone  in  which  the  noble  duke  would  think  it  an  affront  to 


SELECTIONS   FOE   PRACTICE   IN   READING.  91 

be  considered,  but  which  character  none  can  deny  me,  —  as  a 
man,  —  I  am,  at  this  moment,  as  respectable  —  I  beg  leave  to 
add,  as  much  respected  —  as  the  proudest  peer  I  now  look  down 
upon. 

3.  We  had  a  right  to  tax  America  !  Such  is  the  reasoning  by 
which  the  noble  lord  justifies  his  conduct.  Similar  was  the  rea- 
soning of  him  who  was  resolved  to  shear  the  wolf!  What ! 
shear  a  wolf?  Have  you  considered  the  difficulty,  the  resist- 
ance, the  danger?  No!  says  the  madman,  I  have  considered 
nothing  but  the  right!  Man  has  a  right  of  dominion  over  the 
inferior  animals.  A  wolf  has  wool ;  animals  that  have  wool  are 
to  be  shorn ;  therefore  I  will  shear  the  wolf! 

4.  Silence !  obstreperous  traitors  ! 

Your  throats  offend  the  quiet  of  the  city ; 

And  thou  who  standest  foremost  of  these  knaves, 

Stand  back,  and  answer  me  —  a  senator  : 

What  have  you  done  ?     Do  you  hear  me  ? 

Back,  on  your  lives  !  treacherous  cowards  ! 

Do  you  know  me  ?  look  on  me  ;  do  you  know 

This  honest  sword  I  brandish  ?     Back !  back  !   I  say. 

5.  I  need  not  ask  this  verdict  from  your  mercy ;  I  need  not 
extort  it  from  your  compassion  ;  I  will  receive  it  from  your  jus- 
tice. I  do  conjure  you,  not  as  fathers,  but  as  husbands ;  not  as 
husbands,  but  as  citizens;  not  as  citizens,  but  as  men;  not  as 
men,  but  as  Christians;  by  all  your  obligations,  public,  private, 
moral,  and  religious ;  by  the  hearth  profaned ;  by  the  home  des- 
olate ;  by  the  canons  of  the  living  God  foully  spurned :  save, 
0  save  your  firesides  from  the  contagion,  your  country  from 
the  crime,  and  perhaps  thousands  yet  unborn,  from  the  shame 
and  sin  and  sorrow  of  this  example  ! 

0.  The  right  honorable  gentleman  has  called  me  "  an  unim- 
peached  traitor."  I  ask,  why  not  "  traitor,"  unqualified  by  any 
epithet?  I  will  tell  him:  it  was  because  he  dare  not!  It  was 
the  act  of  a  coward,  who  -raises  his  arm  to  strike,  but  has  not 


92  PHYSICAL   AND   VOCAL   TRAINING. 

courage  to  give  the  blow !  I  will  not  call  him  villain,  because  it 
would  be  unparliamentary,  and  he  is  a  privy  councillor.  I  will 
not  call  him  fool,  because  he  happens  to  be  Chancellor  of  the 
Exchequer.  But  I  say  he  is  one  who  has  abused  the  privilege 
of  Parliament,  and  the  freedom  of  debate,  to  the  uttering  lan- 
guage which,  if  spoken  out  of  this  House,  I  should  answer  only 
with  a  blow !  I  care  not  how  high  his  situation,  how  low  his 
character,  how  contemptible  his  speech ;  whether  a  privy  coun- 
cillor or  a  parasite,  —  my  answer  would  be  a  blow  ! 

7.  It  is  this  accursed  American  war  that  has  led  us,  step  by 
step,  into  all  our  present  misfortunes  and  national  disgraces. 
What  was  the  cause  of  our  wasting  forty  millions  of  money,  and 
sixty  thousand  lives  ?  The  American  war  !  What  was  it  that 
produced  the  French  rescript  and  a  French  war  ?  The  American 
war !  What  was  it  that  produce'!  the  Spanish  manifesto  and  a 
Spanish  war  ?  The  American  war  !  What  was  it  that  armed 
forty-two  thousand  men  in  Ireland  with  the  arguments  carried 
on  the  points  of  forty  thousand  bayonets  ?  The  American  war ! 
For  what  are  we  about  to  incur  an  additional  debt  of  twelve  or 
fourteen  millions  ?•  This  accursed,  cruel,  diabolical  American 
war! 


IVi    Spirited  and  Emotional, 

1.  Up  from  the  South  at  break  of  day, 
Bringing  to  Winchester  fresh  dismay, 
The  affrighted  air  with  a  shudder  bore, 
Like  a  herald  in  haste  to  the  chieftain's  door, 
The  terrible  grumble  and  rumble  and  roar, 
Telling  the  battle  was  on  once  more, 
And  Sheridan  twenty  miles  away. 

2.  Again  to  the  battle,  Achaians  ! 

Our  hearts  bid  the  tyrants  defiance  , 
Our  land  —  the  first  garden  of  Liberty's  tree  — 
It  has  been,  and  shall  yet  be,  the  land  of  the  free  : 


SELECTIONS   FOR   PRACTICE   IN   READING.  93 

For  the  cross  of  our  faith  is  replanted, 

The  pale,  dying  crescent  is  daunted, 
And  we  march  that  the  footprints  of  Mahomet's  slaves 
May  be  washed  out  in  blood  from  our  forefathers'  graves. 

Their  spirits  are  hovering  o'er  us, 

And  the  sword  shall  to  glory  restore  us. 

3.  Hurrah !  the  land  is  safe,  is  safe ;  it  rallies  from  the  shock ! 
Ring  round,  ring  round,  ye  merry  bells,  till  every  steeple  rock ! 
Let  trumpets  blow  and  mad  drums  beat !  let  maidens  scatter 

flowers ! 
The  sun  bursts  through  the  battle  smoke  !     Hurrah !  the  day 

is  ours  1 

4.  Fight,  gentlemen  of  England  !  fight,  bold  yeomen ! 
Draw,  archers,  draw  your  arrows  to  the  head  : 
Spur  your  proud  horses  hard,  and  ride  in  blood  j 
Amaze  the  welkin  with  your  broken  staves. 

A  thousand  hearts  are  great  within  my  bosom : 
Advance  our  standards,  set  upon  our  foes ! 
Our  ancient  word  of  courage,  fair  Saint  George, 
Inspire  us  with  the  spleen  of  fiery  dragons ! 
Upon  them  !     Victory  sits  on  our  helms. 

5.  Speak  of  Mortimer  ! 
Zounds  !  I  will  speak  of  him,  and  let  my  soul 
Want  mercy,  if  I  do  not  join  with  him. 
Yea,  on  his  part,  I  '11  empty  all  these  veins, 

And  shed  my  dear  blood  drop  by  drop  i'  the  dust 
But  I  will  lift  the  down-trod  Mortimer 
As  high  i'  the  air  as  this  unthankful  king, 
As  this  ingrate  and  cankered  Bolingbroke. 

6.  Measureless  liar,  thou  hast  made  my  heart 

Too  great  for  what  contains  it.     "  Boy  !  "    0  slave ! 

Cut  me  to  pieces,  Volcians ;  men  and  lads, 

Stain  all  your  edges  on  me.    "  Boy  ! "    False  hound ! 


94  PHYSICAL    AND    VOCAL   TRAINING. 

If  you  have  writ  your  annals  true,  'tis  there, 
That,  like  an  eagle  in  a  dove-cote,  I 
Fluttered  your  Volcians  in  Corioli ; 
Alone  I  did  it !    "  Boy !  " 

7.  If  ye  are  brutes,  then  stand  here  like  fat  oxen  waiting  for 
the  butcher's  knife ;  if  ye  are  men,  follow  me  !  strike  down  yon 
sentinel,  and  gain  the  mountain  passes,  and  there  do  bloody  work 
as  did  your  sires  at  old  Thermopylae  !  Is  Sparta  dead  ?  Is  the 
old  Grecian  spirit  frozen  in  your  veins,  that  ye  do  crouch  and 
cower,  like  base-born  slaves,  beneath  your  master's  lash?  O 
comrades !  warriors  !  Thracians !  if  we  must  fight,  let  us  fight  for 
ourselves ;  if  we  must  slaughter,  let  us  slaughter  our  oppressors ; 
if  we  must  die,  let  us  die  under  the  open  sky,  by  the  bright  wa- 
ters, in  noble,  honorable  battle. 


CHAPTER    XX. 

TABLES   FOR   DAILY   DRILL   AND   REVIEW. 

TABLE  FIRST.* 
Exercises  in  the  Sitting  Position. 

1.  Sitting  position. 

2.  Poise  forward  and  backward. 

3.  Head  turn  right  and  left. 

4.  Head  bend  forward  and  back. 

5.  Head  bend  right  and  left. 

6.  Body  turn  right  and  left. 

7.  Body  bend  right  and  left. 

*  For  an  example  of  the  method  of  conducting  the  exercises  —  with 
words  of  command  —  see  the  last  table  in  the  chapter. 


TABLES   FOR  DAILY   DKILL  AND   REVIEW.  95 

TABLE  SECOND. 
Exercises  in  Standing  Position. 

1.  Standing  position. 

2.  Poise  forward  and  backward. 

3.  Rise  on  the  toes. 

4.  Body  bend  forward  and  backward. 

5.  Body  bend  right  and  left. 

6.  Body  turn  right  and  left. 

7.  Bend  the  knees. 

8.  Speaker's  position. 

9.  Walking. 

TABLE  THIRD. 
Exercises  for  the  Chest  and  Lnngs. 

1.  Active  and  passive  chest. 

2.  Percussion  of  the  chest. 

3.  Chest  expansion,  —  arm  movements. 

4.  Percussion  with  arm  movements. 

5.  Shoulder  movements. 

6.  Shoulder  movements  with  bent  arms. 

7.  Extension  movement. 

8.  Circular  movement  with  bent  arms. 

TABLE  FOURTH. 

Breathing. 

1.  Breathing  with  arm  movements. 

2.  Deep  breathing. 

3.  Abdominal  breathing. 

4.  Costal  breathing. 


96  PHYSICAL   AND   VOCAL   TRAINING 

5.  Dorsal  breathing. 

6.  Waist  breathing. 


7.  Seizing  the  breath. 

8.  Expulsive  breathing. 

9.  Abrupt  breathing. 

10.  Effusive  breathing. 

11.  Rapid  breathing. 

12.  Prolonged  breathing. 

13.  Unequal  breathing. 


TABLE  FIFTH. 
Exercises  for  the  Organs  of  the  Throat 

1.  Raising  the  soft  palate. 

2.  Depressing  the  base  of  the  tongue. 

3.  Directing  the  column  of  breath. 

4.  Whispered  stroke  of  the  glottis. 

TABLE  SIXTH. 

Exercises  in  Production  of  Tone. 

1.  Pure  tone. 

2.  Breath  tone. 

3.  Full  tone. 

4.  Projection  of  tone. 

5.  Explosive  tones. 

6.  Orotund. 

7.  Pure  tone  and  orotund  alternated 

8.  Musical  chords. 


TABLES   FOR   DAILY    DRILL   AND   REVIEW.  97 

TABLE  SEVENTH. 
Exercises  in  Vowel  Analysis. 

1.  Long  vowels  from  e  to  ob  (p.  38). 

'1.  Long  vowels  in  reversed  order,  —  from  ob  to  I. 

3.  Short  vowels  from  $  to  do. 

4.  Short  vowels  in  reversed  order,  —  from  5b  to  i. 

5.  Diphthongs. 

6.  Accented  vowels  in  words. 

7.  Unaccented  vowels  in  words. 

8.  General  exercise  in  words  (p.  43,  VI.). 

TABLE  EIGHTH. 

Exercises  in  Articulation. 

1.  Exercise  from  the  triangle. 

2.  Consonants,  —  aspirates,  sub-vocals,  liquids. 

3.  Initial  consonant  combinations. 

4.  Terminal  combinations. 

5.  General  exercise  in  articulation  of  words. 
G.  Articulation  of  uhrases  and  sentences, 

TABLE  NINTH, 
Exercises  in  Inflections  or  Slides. 

1.  Falling  slides  on  the  vowels. 

2.  Rising  slides  on  the  vowels. 

3.  Alternate  rising  and  falling  slides. 

4.  Semitonic  falling  slides. 

5.  Semitonic  rising  slides. 

G.    Semitonic  rising  and  falling  slides. 
7.    Rising  circumflex. 


5 


98  PHYSICAL    AND    VOCAL    TRAINING. 

8.  Falling  circumflex. 

9.  Rising  and  falling  circumflexes  alternated. 

10.  Monotone. 

11.  Sentences  or  paragraphs  illustrating  each  of  the  slides. 

TABLE  TENTH. 
Exercises  in  Quality  of  Voice. 

1.  Give  the  sounds  of  the  vowels  in  a  whisper. 

2.  Half-whisper  or  aspirated  tone. 

3.  Pure  tone. 

4.  Orotund. 

5.  Aspirated  orotund. 

6.  Sentences  or  paragraphs  illustrating  each  of  the  above 
qualities. 

TABLE  ELEVENTH. 
Exercises  in  Force. 

4.    Sounds  of  the  vowels  gently. 

2.  Moderate  force. 

3.  Loud. 

4.  Very  loud. 

5.  Sentences  or  paragraphs  illustrating  each  degree  of 
force. 

TABLE  TWELFTH. 

Exercises  in  Pitch. 

1.  Sounds  of  the  vowels  with  a  high  pitch. 

2.  Middle  pitch. 

3.  Low. 

4.  Very  low. 

.").    Sentences  or  paragraphs  illustrating-  each  degree  of 
pitch. 


TABLES   FOR    DAILY    DRILL   AND   REVIEW.  DU 

TABLE  THIRTEENTH. 

Exercises  in  Rate  or  Movement. 
1.    Sounds  of  the  vowels  rapidly. 
•2.    In  moderate  time. 

3.  Slow. 

4.  Very  slow. 

5.  A  sentence  in  the  different  rates  of  utterance  succes- 
sively. 

6.  Sentences  or  paragraphs  illustrating  each  of  the  move- 
ments, 

TABLE  FOURTEENTH, 

Exercises  in  Stress. 

1.  Vowels  with  the  radical  stress. 

2.  Median  stress. 

3.  Terminal  stress. 

4.  Thorough  stress. 

5.  Compound  stress  (may  be  omitted). 

6.  Intermittent  stress. 

7.  Sentences  illustrating  each  kind  of  stress. 

TABLE  FIFTEENTH. 

Vocal  Exercises. 

1 .  Vowels  to  be  given  by  the  pupil,  exemplifying  either 
of  the  slides,  degrees  of  pitch,  force,  qualities  of  voice,  etc., 
as  called  for  at  random  by  the  teacher. 

2.  Similar  illustrations  with  sentences. 

3.  Examples  of  transition,  and  giving  the  reason  for  the 
transition. 

4.  Examples  of  imitative  modulation. 

5.  Picturing. 

6.  Examples  of  various  styles,  as  called  for  by  the  teacher. 


100  PHYSICAL    AND    VOCAL    TRAINING. 

TABLE  SIXTEENTH. 
Miscellaneous  Physical  Exercises^  u'ith  the  Words  of  Command. 

After  the  movements  have  been  once  learned,  it  is  best  to 
have  them  performed  in  exact  time.  To  d.o  this,  the  teach- 
er's commands  should  also  be  regularly  timed,  substituting 
the  word  of  command  in  the  place  of  the  fourth  count. 
Musical  Accompaniments  may  be  used  instead  of  counting. 

1.  SITTING  POSITION, 

Word  of  command  :  Position  ! 

2.  POISE  FORWARD  AND  BACKWARD, 

Words  of  command  :  Poise  forward .'  one,  two,  three, 
four.  Position!  one,  two,  three,  four.  Backward.' 
one,  two,  three,  four,  Position  .'  one.  two,  three,  four. 
(Repeat.)  £W .' 

3.  HEAD  MOVEMENTS, 

//, ,/,/„. —  Turn — Right!  one,  two,  three,  four.  Front  ' 
one,  two,  three,  four.  Left !  one,  two,  three,  four, 
front  !  one,  two,  three,  four,  (Repeat.)  Rt,<t .' 

4.  STANDING  POSITION, 

Prepare  to  stand  !     Stand  .'     Position  ! 

5.  POISING  FORWARD  AND  BACKWARD, 

Poise,  forward .'  one,  two,  three,  four.  Position !  one, 
two,  three,  four.  Backward !  one,  two,  three,  four. 
Position!  one.  two,  three,  four.  (Repeat.)  East .' 

0.    RISING  (IN  THE  TOES. 

Rise !  one,  two,  (rise  gradually,)  three,  four.  (Remain 
fixed  during  third  and  fourth  counts.)  One,  two,  (dq- 
scend  to  position.)  three,  four.  (Repeat.)  R&t .' 


TABLES   FOR   DAILY   DRILL   AND   REVIEW.  101 

7.  ACTIVE  AND  PASSIVE  CHEST. 

Chest  — jmssive  !  —  Active  !     (Repeat.)     Rest  ! 

8.  FILLING  THE  LUNGS. 

Inhale !  (Full  breath  through  the  nostrils.)  Expel ! 
(Give  out  the  breath  through  the  nostrils,  without  al- 
lowing the  upper  part  of  the  chest  to  collapse,) 

9.  PERCUSSION  OP  THE  CHEST, 

Hands  on  the  chest -- — place!  (Full  breath.)  Percussion! 
one,  two,  three,  four ;  one,  two,  three,  four.  (Four 
counts  for  percussion,  then  two  for  expelling,  ancj  two 
for  renewing  the  breath.)  (Repeat.)  Rest  ! 

10.  ARM  MOVEMENTS  FORWARD  AND  BACK. 

Arms  bent  /  (at  the  side  — -  fore-arms  horizontal,  fist 
clenched,  palm  upward.)  Full  breath  !  One,  (reaching 
forward,  palms  down,)  two,  (ba.ck  to  the  side,)  three, 
(forward,)  four,  (back.)  One,  two,  three,  four,  (for 
changing  the  breath  as  in  preceding  exercise.)  (Re- 
peat.) Rest  / 

11.  PERCUSSION  OF  THE  CHEST,  SWINGING  THE  ARMS. 
Full  breath  !     Percussion  f   one,   two,   three,  four ;    one, 

two,  three,  four.     (Two  movements  of  each  arm ;  then 
four  counts  for  changing  the  breath.)    (Repeat.)    Rest,  f 

12.  SHOULDER  MOVEMENTS. 

Shoulder  movements  /  One,  two,  three,  four.  (Inward  and 
outward  twice,)  (Four  counts  for  changing  the  breath.) 
Rest .' 

13.  SHOULDER  MOVEMENTS  WITH  BENT  ARMS. 

Arms  bent  !  (Fore-arms  vertical  at  the  side,  palms  front, 
fists  clenched.)  One,  two,  three,  four.  (Inward  with 
palms  before  the  chin,  then  back  with  firmness  — -  twice.) 
(Change  the  breath.)  (Repeat.)  Rest/  ! 


102  PHYSICAL   AND    VOCAL   TRAINING. 

14.  EXTENSION  MOVEMENTS. 

One  !  (Arms  extended  horizontally,  middle  fingers  touch- 
ing.) Two!  (Arms  elevated  45°.)  Three!  (Arms 
over  the  head.)  Four  !  (Arms  as  far  back  as  possible, 
fingers  still  touching.)  One!  (Arms  extended  straight 
sidewise,  raised  45°.)  Two !  (Arms  horizontal  and 
back.)  Three!  (Descend  45°.)  Four!  (To  place.) 
(Repeat.)  Rest ! 

15.  CIRCULAR  MOVEMENT  WITH  BENT  ARMS. 

Touch  the  shoulders  !  (With  the  tips  of  fingers.)  One  I 
(Elbows  forward.)  Two !  (Upward.)  Three!  (Back- 
ward.) Four  !  (Around  to  place.)  (Repeat.)  Rest  ! 

16.  BREATHE  WITH  ARM  MOVEMENTS. 

One  !  Two  !  (Repeat.)  (Raise  the  arms  when  inhaling. 
Strike  downward,  clenching  the  fist  with  palm  fronf 
when  expelling  the  breath.)  Rest! 


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